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Interiors Awards 2013: Entertainment
Ajax Law Ling Kit
More Photos
Pixel Box is by no means the only cinema in Wuhan, China, but it is the most avant-garde movie house in the city, presenting drama before the show even begins in the auditorium. The 95,000-square-foot cinema, designed by Hong Kong–based One Plus Partnership, houses a grand hall, concession counter, leisure area, bookshop and, of course, 11 auditoriums for different audience types and a capacity range of 26 to 241.
According to the designers, Ajax Law Ling Kit and Virginia Lung, the design concept derives from pixels, the smallest element of a picture represented on a screen. They say, "Our design is founded on the idea that films are composed of images which are formed by the continuous movement of tiny pixels." That relationship between movement and pixels is a fundamental element of the design and prepares cinemagoers for the imaginary world of movies.
To create the sensation of moving pixels, the designers used cubic units of different sizes and textures. The entrance, for instance, welcomes guests with a feature wall decorated with huge cubic beams protruding from the wall in an undulating fashion. Cleverly, the projections at the top of the wall spell out the name "PIXEL BOX." Beyond the undulating cubic protrusions is the theater's Grand Hall box office. This box office rotunda space is surrounded by some 6,000 pieces of stainless steel panels. As visitors wander through this glittering hall, the panels reflect their movements, creating an interesting interaction between moviegoers and the box office. "The reflection of light over the mirrored stainless steel in the curved envelope enhances the infinite atmosphere and sense of spaciousness," the designers say. "All the panels are in various sizes and custom made, requiring careful and precise onsite measurement."
Past the entrance zone, the concession and leisure areas feature cubes of different heights that form transaction counters, food display cases, serving counters, seats, and tables. Underneath glass tabletops, LCD screens present the latest trailers. The cubical design element continues to dominate elsewhere in the cinema: square blocks are used as display units in the bookshop; every lavatory stall is deliberately built at varying heights with yellow-toned mirrors to emphasize geometry; the marble seats in the middle of the hallway are made of undulating rectangular blocks; and even the upholstered wall and carpet feature custom square patterns. The plentiful variations and exquisite presentations result in a vivid and playful atmosphere, making the cinema a collection of three-dimensional pixels.
Apart from the extensive use of square blocks to represent the pixel form, the designers were meticulous in their selection of colors and materials. According to them, gray is the predominant color because it is synonymous with high-tech style. Nevertheless, some warm colors were injected sparingly, such as olive green and yellow in the carpets and seats, as well as on the seating inside the auditorium.
With the intention of making this cinema one of a kind in the city, the designers explored different ways to incorporate form, function, and fantasy in a spacious interior. Their creativity and boldness are no less than that of a great filmmaker.
Interior designer
: One Plus Partnership.
Interior design project team: Ajax Law Ling Kit; Virginia Lung.
Contractor: Beijing Qingshang Architectural Ornamental Engineering Co.
Graphics: One Plus Partnership.
Masonry wall: Beijing Qingshang Architectural Ornamental Engineering Co.
Flooring: Beijing Qingshang Architectural Ornamental Engineering Co.
Ceiling: custom.
Lighting: custom.
Hardware: Dorma.
Doors: custom.
Seating: custom.
Upholstery: Century Union.
Reception desk: custom.
latest hospitality
April 02, 2017 • Hospitality
Four Seasons Kyoto
March 30, 2017 • Hospitality
March 29, 2017 • Hospitality
|
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Artists Illustrating Boys' Fashions: Johan Nepomuk Ender (Austria, 1793-1854)
Figure 1.--This Ender portrait was titled 'Mutter und sohn'--mother and son. The family is not identifid. It is not dated. We might guess it was painted about 1830. Notice the open ruffled collar. Notice the classical column and drapes. This popular convention also appared in early CDV portraits. (earlier formats tebded to have plain backgrounds.)
Johan Nepomuk Ender was born in Vienna during tumultuous times (1793). This was the year that King Louis XVI was executed and the regign of terror began. He grew up during the Napoleonic Wars. He he studied at the Vienna Academy. And soon was awarded four important prizes. He soon achieved a popular following as a portrait painter in fashionble Vienna. A formtive adveventure was a trip with Count Szecheni of Hungary on a tour of Turkey and Greece (1818-19). He then traveled to Italy to view the Renaissance masters (1820). He produced works from Biblical and historical subjects. Finally he stayed in Paris for a year. He returned to Vienna (1827). He then persued a career in Vienna specialing in portait miniatures and historical paintings. He was appointed as a professor at the Academy (1829-50). We find his work very valuable because he produced many portraits of families and children. Yhis is very valuable because without photography there are far fewer imahes with which to work. The unidentified mother and child here are a good example (figure 1). We notice another unidentified boy in 1829. This provides us quite a number of images of children's clothing in the early-19th century before we have photographic evidence.
Navigate the Boys' Historical Clothing Web Site:
[Return to the Main individual A-F artist alphabetical page]
[Return to the Main Austrian artist page]
[Introduction] [Activities] [Biographies] [Chronology] [Clothing styles] [Countries]
[Bibliographies] [Contributions] [FAQs] [Glossaries] [Images] [Links] [Registration] [Tools]
[Boys' Clothing Home]
Created: 6:47 AM 5/7/2015
Last updated: 6:47 AM 5/7/2015
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The mod generation photographers thread.
It seems to me that being interested in things mod and being creative goes hand in hand. A lot of people I know from the scene, personally as well as over the internet, seem to be into things like design, art, music etc - either professionally or as a hobby.
So, I figured there ought be others on here who, like me, are into photography? I´ve been carrying a camera with me as good as everywhere since my early 20s and also run a small photographybusiness on the side of my "normal" job.
Therefore I decided to start this thread where we can share photos, websites etc with each other - for inspiration as well as criticism.
To start thing off, heres a link to my professional webpage:
And here´s one to my photostream on Flickr, where I post more personal stuff:
You need to be a member of The Mod Generation to add comments!
Join The Mod Generation
Email me when people reply –
• I thought I´d make an attempt to start this thread off again since it´s always good fun to see other peoples photos - no need for them to be of proffessional quality or anything!
So, just to get things started again, here's a link to a set of some pic I took at a Mods vs Rockers do in Stockholm a few weeks ago. For those of you allergic to parkas I´d like to issue a warning though - there are quite a few of them in the pics. As well as leather clad bikers. ;)
http://www.flickr.com/photos/ronniegavelin/9758404732/in/set-721576...
• Great idea for a thread, although not photography I thought I would stick up my portfolio as you mention design, I've just finished uni so not a massive amount of professional work as yet, but hope to be adding more soon.
http://bcooper2.wix.com/portfolio
• A very, very good looking site Ben. And your work is great! I´m also loving the subculture timeline, but everything on there was really good.
• Ah! The memories, HND/Degree Graphic Design exhibition, port folio sat, laid to bear for all to see.
Your Illustrator skills in full affect here Ben... I like it.
Good luck ; )
• I like this thread, Ben awesome project Subculture Timeline would look great on my living room wall ! Cant for the life of me see where you got the inspiration from ! A promising career awaits.
• This reply was deleted.
• Thanks you guys!
It´s not that reallya job really though...at least not anymore. I did it fulltime for about two years, but realised that being my own employer really wasn't my thing so now I just do assignments on the side of my regular job in the field of socialpsychiatry. Usually only about 5-10 assignments a year, so these days it´s more like hobby that finances itself than a job. ;)
• Cant fault you.
• Running your own business means working basically 24/7 365 days a year...especially in photography where the competition is so hard. I just felt that it was not worth it, especially since I have a degree in bahavioural science that I did not use. Plus, you loose sight of the creative aspect of things when you do it for a living, which is what turned me on to photo originally.
Doing it on the side is perfect for me, since I can stick to the assignments I find fun and inspiring and turn down the rest!
• Retail is no different Ronnie, especially when your balancing online and bricks anf mortar aspects to the business. It sounds like a great idea to turn a hobby into a business, but in reality your hobby ends up being hard work.
• Exactly! And that kind of kills the hobby in a sense...I stopped taking photos for myself almost completely during the years I did it full time, and that´s just not right.
This reply was deleted.
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To unlock your Bloggif blocker, it is very simple:
- Click on the icon of your top of your browser ad blocker:
- Then click the off button.
It seems that you use ad blocker!
Bloggif is a completely free creative space funded solely by advertising.
So if you still want to create photo montages with us every day, it would be nice to disable your ad blocker on our website.
Pop Art picture
Create a Pop Art portrait
Kind of effect :
You can customize the colors in the next step.
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BIARRITZ - Pendant Light by It's about RoMi | Luminesy
BIARRITZ - Pendant Light
Color: White
lead time 1-2 weeks
lead time 1-2 weeks
Out of stock
Worldwide delivery
We plant a tree for each order
Best price guarantee
Individual drops of light shine from five pendant lamps suspended from a strong wrought iron frame to give this chandelier a modern and modish twist.
A dynamic and industrial inspired design creates an instant centrepiece.
Width: 100 cm
Depth: 100 cm
Height: 16 cm
Cable length: 200 cm
Technical information:
Base: E14 max. 40W
Voltage: 230V
Realistic Open Minded Individuals (ROMI) are based along the oldest canal in Amsterdam, the capital city of the Netherlands. Since 1993, ROMI have been creating homeware & lighting for your home with hard work, dedication and above all, pleasure! They get their inspiration from urban life in the city, but also nature gives them plenty of ideas. They love simple yet strong design in pure materialIARRITZ - Pendant Light
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Wash Park one year old portraits
Wash Park One Year Old Portraits
Hudson is such a doll. I had the pleasure of photographing him when he was two months old, visiting his grandparents from Chicago. I then got to capture him again right after his first birthday at Denver’s Wash Park.
He just lit up and laughed every time his parents came near. Hudson was getting confident on his feet, walking alone in the park in his mini-Converse sneakers. Could they be cuter?!
Capturing a baby several times during their first year is so fun. Watching this newborn baby turn into a walking, talking toddler is amazing. That first year is full of so many changes, and to be able to document them from laying, still as can be to sitting up and giggling to often standing or walking and having a mind of their own by 1 year old.
I know it can feel overwhelming to see all those images, and you think – what are we to do with all of these? A First Year Album is a favorite with the majority of parents. I design it based on your favorite images throughout the first year. (Click HERE and scroll all the way down to see an example). What a treasure to be able to give your child years later.
son with father at Wash Park
Denver one year portraits
Wash Park Family Portraits
black and white family photos
Denver one year old portraits
candid family photography
toddler with converse on
Denver family photos at Wash Park
fun family portraits Denver
Wash Park portraits with kids
fun posed family photos in denver
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Taking Photos Made Simpler With These Tips!
There is no substitute for hands on training and a good teacher when it comes to taking the perfect shot! Photography can capture a memory and turn it into simple tourism or elevate it to artistic excellence. Skill is essential. Read some tips and tricks that others have found beneficial from experience:
Learn how to snap a picture quickly. Do not wait for your subject to take a certain pause, this might not happen. Take several pictures if you need to. By taking pictures quickly, you will get natural expressions and pauses. If you wait too long, your subject will probably have a rather rigid and artificial expression.
Play with the aperture settings. Take a number of photos of the same subject with different settings to see how it affects the look of the final photo. Bigger f-stops allow you to get an entire landscape in focus, while a smaller f-stop will draw attention only to the center of your frame.
In photography, it is very important to vary the amount of angles that you use on your subject. Shoot pictures from the front, side, and back, which will help to give you an elegant collage instead of just one angle. Move around as often as possible to optimize your results.
Be creative and unique with your subjects. You don’t want to take the same old photo every other photographer has done. Look for unique shots that people haven’t seen before. Choose interesting subjects that aren’t going to bore anyone who sees them. If you want to make a name for yourself, this is essential.
If you are thinking about becoming a photographer, it is important that you go to college. Most companies will not hire a photographer unless they have some sort of education in photography. There are many websites that will provide you with the best collgees throughout the whole world for photography.
In order to produce the best and clearest photographs, you should use a tripod. A tripod allows you to stabilize the camera, so that your photos are in better focus. This is especially important if you are using a high-zoom lens or shooting at night, since small changes in the camera’s position will result in major blurring.
Be creative when composing your shots. Photography is all about the visual effect of your shots. If it’s a mundane item in a cluttered background, chances are good that no one will care to look at your photo. Learn how to create a good photo, and then take those skills and apply them to your own creative ideas.
A good photography tip that can help you is to take a step back from your work sometimes. A picture you might not have like before might suddenly seem appealing to you. It’s very important to step back from your work so that you can always have a fresh perspective.
Use the tips and tricks provided in this article to help you with your photo efforts. While there is no real substitute for personal experience, you can certainly benefit from what others can teach you. Make your photos special! Turn a simple memory into art! Work on your skills to perfect the art of photography!
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Buying Art for Your Home
couple hanging art on wallYour home should be your space to relax and allow the outside worries to wash away as soon as you enter. Creating a space that brings you joy is important when redecorating your home.
Finding What You Like
First off, with art, ask yourself this simple question: “Do I like this?” If you don’t, then it doesn’t belong in your house! If you do, then it has potential. The next question you should ask is “Why do I like this” and “ Where can I put this.” It is important to know how art will function in your home and not overcrowd your space.
Keep in mind that artworks are a means of expression utilizing color, texture and content. If you find a particular piece of art that connects with your heart, in the sense that it helps express an emotion you want to think about often, then that is a piece you should have.
For example, House Portraits by Deb is known for painting home portraits. It doesn’t get more personal than that, right? When people look at their home as a painting it evokes good feelings. It’s a physical representation of all the emotions associated with owning and living in that home. Moreover, it’s nice to have the look of their home captured as a piece of art that can be proudly displayed in their home… or future home as a memento of where they used to live.
Getting to know the Artist
While you could buy art from an artist you’ve never met or know nothing about, it has been said that people love having a story to tell about the art they obtain for their home. Therefore, go to art shows, street fairs, auctions and local galleries to get to meet the artists in person. Talk with them. Find out what inspired them to paint, draw, or otherwise create their pieces. You might find that they have something in common with you that’ll make you appreciate their art even more. Plus, it’s always nice to be able to tell people a little bit about the artwork you’ve got– who made it, where it’s from, why it’s special, etc.
Seal the Deal
Finally, when it comes to price, think of it this way: act now before someone else gets it or, for some reason, it’s no longer available. Even though you might think a piece of art is a little expensive for your budget, you might kick yourself for having seen it and not bought it when you had the chance. Much like you save money for a vacation, you can have an “art fund” jar on your counter. With art, sometimes you’ll find a bargain, and sometimes you won’t– but if a piece catches your eye to the point where you feel you simply must have it, buy it!
As a watercolor artist with over 30 years of experience, I understand the importance of owning beautiful art. Visit our FAQ for more information and to inquire for your very own house portrait.
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Neon Inspired Wall Art To Raise Up The Vibes
Arts not only create an aesthetically pleasing space but it also connects with us on a deeper level. It adds depth to a design and creates a mood in a particular space. Do you want your room to feel tranquil and friendly? Warm and inviting? Or are you leaning towards the bold and quirky? When you are thinking of putting up something on your empty wall you may go for one that captivates you or something that reflects your personality.
When it comes to poster prints, there is just so much to choose from. In our collection, we have a variety of posters that are sure to fit any personality or any space in your home or office. Wall arts are an easy way of bringing the character to a blank wall and it doesn’t have to break the bank.
In this article, we are featuring art posters that give off virtually intense vibes and energy to a wall space. Neon inspired wall arts to elevate your spirits and add interest in your living spaces.
Neon posters are one of the trendy ways to add personality to your interior decor. For this particular design, the grey hues of this luxurious room wall blend well with a dark poster that pops purple and yellow neon lines. A wall art that could also fit in a game room or an entertainment room for an added interest to the ambiance.
The Lost in The City is another canvas print from our collection that is an absolute eye-catcher. A modern art form that glows in a delightful fluid movement that goes in every direction. Streaks of gleaming cars and city lights presented in a light painting photography. Blend this artistry with the entanglement of your thoughts and ideas as it takes center stage in your wall space.
Putting up wall arts is one of the easy ways to complete a room’s overall look. All you have to do is find the one that resonates with you. It could be something that inspires you or brings that positive feeling in you or to anyone that sees it. In this particular living room design inspiration for a bedroom, a canvas print art with splash of entangled purple neon lights is hung and creates a contrast on the clean white wall. This Entiwined in Purple canvas art gives a nice boost of energy in this living space.
Creating a space that you love and resonates with you may take lots of time and effort as well as some trial and error. Don’t be afraid to experiment and choose the pieces that you love. For your wall art needs please do visit our extensive collection of wall posters that will surely fit your interior needs!
featured canvas arts
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image creation - Limehouse creative
agency - Host
producer - Ryan Swerdlow
Meet our new friend Ollie!
He was hired by bankwest to be the new fluffy face and feathered body of their business advertising.
He’s likeable, smart and quick-witted and has the business experience to boot.
Our Ollie was dreamt up by Host, born from our CGI maternity ward, and grew up to have a little bit of all of our personalities, with a dash of Stephen Fry’s dry humour and the business savvy of Mark Bouris.
He’s obviously an all native australian barn owl but has some real human traits and a personality and character all of his own.
Everything had to be created in 3D from scratch. We started by modelling a skeleton, then skin, fur and feathers, all individually placed, and finally his eyes and funky glasses… Along each step of the way, everything had to be connected and ‘rigged’ so that Ollie could be posed in a realistic manner.
In some executions this meant working out how a real owl with a wingspan 2-3 times the length of this body could be posed in to human-like stances.
Level 3, 48 Chippen Street, Chippendale, NSW 2008, Australia
info@limehousecreative.com
tel - +61 2 9698 5398
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Peter Speliopoulos is is a multidisciplinary artist creating ceramics and home objects. His influences are founded in his experience as a fashion designer, creative director and opera and dance costume designer. Speliopoulos’ evolution into home objects expresses a desire to present a balance between the primitive and the contemporary. Speliopoulos creates pieces to provoke the senses, as they embrace a respect for history with the forward motion of modern life.
Speliopoulos’ lifelong fascination with the artistry of color, texture and craft is rooted in a long and successful fashion career, spanning from couture to sportswear, from ethereal to grounded. Born and raised in Springfield, Massachusetts, Speliopoulos’ passion for melding material and construction led him to Parsons School of Design, where he received his BFA in Fashion Design and was named 1982’s graduating class Designer of the Year. Peter was previously the Creative Director of Cerruti in Paris and Donna Karen in New York, and he continues to work as a consultant for various luxury brands.
Peter’s passion for design has matured since developing his interest in creating ceramics in 2011, as he loves the eternal quality of clay, natural forms and is often inspired by the cosmos and alchemy. Peter enjoys creating series, though each vessel can stand on its own. Each piece is hand thrown and glazed by Peter himself.
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Painting 40" Hugging couple, love, wedding gift, valentine gift, lovers painting, art, handmade by Koby Feldmos
$442.00 $520.00
Shipping to United States: $57.00
Loving couple in the act of intimate closeness. A symbol of true love and romance. A masculine man with thick arms wraps the woman up and protects her, while placing his head on her shoulders, which symbolize connection and real love. Warm & cold colors characterize this man and woman, colors of heat and passion. A black, elegant splash completes the painting and adds to it an abstract, undefined dimension. A modern work of art, a bit erotic and very sensual.
* Name: Embracing couple
* Painter: Koby Feldmos
* Size: 40" x 30" (100 xI couldn’t be more thrilled with the process & final result of this custom order. Koby is ultra responsive & exceeded my normally excessive expectations. The reviews on this talent & end process are completely accurate. Jaw dropping.
The painting is beautiful! Koby is extremely helpful.
Working with Koby was a delight! The painting is absolutely beautiful! It arrived in perfect conditions. I also bought the wood and decorative frame from and couldn’t be happier !!!!
Legal imprint
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Building a world of
resilient communities.
After the Peak: What will become of the Joffrey Ballet?
For those who have begun planning for a low-energy future, the main concerns are rightly food, transportation, heat, health care and local production of goods of all kinds. On a recent trip to Chicago, however, I began thinking about the fate of our great artistic and cultural institutions. In the spirit of the oft-quoted Biblical saying, "Man does not live by bread alone," I wondered whether anyone will conclude that Chicago's world-renown Joffrey Ballet is worth saving as energy supplies become more and more scarce.
Chicagoans of all types nearly filled the auditorium for a recent performance of The Nutcracker which I attended. I found the performance intensely beautiful and occasionally (and intentionally) delightfully amusing. It involved not only the professional Joffrey dancers but also young singers and dancers from the Chicago community. Can we do without such unifying community events? Can we live by bread alone?
Everyone who thinks seriously about a post-peak world will probably agree that the arts need to be an integral part of that world. Yet, we know only too well how easily they are neglected in our current world even though we have been rich in energy for a long time. How much more might the arts be slighted in an energy-deprived world!
While in Chicago I also visited the Shedd Aquarium and wondered how such a place might function in a post-peak world. Both the Art Institute of Chicago and the nearby Field Museum of Natural History seemed much more likely to remain viable since their exhibits are largely static and, of course, inanimate. The Shedd Aquarium, on the other hand, must continuously filter 3 million gallons of water, hold the temperature of that water as low as 38 degrees (for the penguins) and feed an entire underwater zoo of animals daily. The aquarium seems certain to be shuttered even under the most mild assumptions of a post-peak world. Perhaps marking it as an inevitable casualty would allow us to go in search of less energy-intensive ways to teach the public and especially our children about the natural world which lies beneath the sea.
At the other extreme, a local jazz singer I listened to in a hotel bar and a one-man show on the life of George Gershwin both seemed much more likely to survive a peak than any of the other forms of entertainment or cultural attractions I saw. The relatively low energy content of these two performances seem to favor them in an energy-challenged future.
Still, should we close down the more energy-intensive Joffrey Ballet in a post-peak oil world? Should we let all the great theater, opera and ballet companies in the world go defunct? Should we close the museums and aquariums? Should we shutter the world's symphony orchestras? And, what about our libraries? Will we allow these great storehouses of cultural memory and knowledge to fall into disrepair and disuse?
No doubt popular entertainments will survive, kept alive by small groups in every community. And, arts and crafts are likely to flourish in a world where household objects are increasingly the product of local craft work. Folk knowledge will become an important part of our education again. But what about knowledge of the remarkable scientific and cultural achievements of the fossil fuel age? Will that knowledge be lost?
Without planning, decisions about the great artistic, cultural and scientific institutions of our society may end up being afterthoughts. Under the cloud of an emergency we could lose many of the most important parts of our heritage. And, should that happen, we would surely end up testing whether man can live by bread alon
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DS 702: Review THROWBACK feat. Theseus
Jack Black is Nacho Libre
We impersonate one another, infiltrate a cult, try to get out of our responsibilities, and learn that pigs can explode as we look back at Jordan Holt’s razor-sharp comic about a dull boy, Theseus, in this delightfully god-like episode of Digital Strips!
DS 644: Theseus
If you love stories about Greek gods but want them taken just a bit less seriously, Jordan Holt’s Theseus is the perfect way to spend an afternoon. Jason likens it to the Greek pantheon through the filter of Napoleon Dynamite and Steve concurs. Don’t miss the blog posts either, which are full of their own wit and wisdom, and aren’t required reading to enjoy the story itself. Great work all around, Jordan, now work on those mountains.
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Liverpool Vision is looking to commission the services of a suitable organisation to design, build and host the new website for the 2018 International Business Festival. The client is Liverpool Vision working on behalf of the Mayor of Liverpool.
The service provider will plan, create, build and deliver a custom designed website for the 2018 festival. The successful tenderer will be a major events specialist, ideally business related with a proven track record delivery of websites for complex and multifaceted events.
The new website should present a modern and refreshed festival product aligned to the brand. It will be contemporary in its look and feel, be well presented, inform and inspire its target audience and ultimately enable users to make a quick decision to purchase a festival ticket.
To achieve this, the website must be focused on easy to digest content which is light on text and highly visual with high quality imagery, video, animated and still infographics and other such media.
The appointed company should assist in ensuring the site provides the optimum customer journey/UX to achieve the key objective.
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Visit the Red Tree Gallery & Laurie Collins Sculpture Garden! 420 MAIN JINDIVICK ROAD, JINDIVICK, VIC 3818
March 11, 2015
March 2015
March Diary
Tuesday March 31st
Fine and mild, beautiful day, Belinda coming did an imaginary insect( up and down a bit) Margie bear coming cut out chooks ducks and rooster,( 22) Judy McKintosh picked up Bulls head( 150), Margie Hodge coming, lunch talk and picked up surfer( 150), Sally walk coming to do bases of sculptural forms( 45) I added to my special place and started Goblet, M to melbourne to help Em and Madge, home to snitzel showed Em the Gallery then minding Eleanor all evening.. she played until her folks came and got her at 12.30….obsessive.
Monday March 30th
Fine and mild, beautiful day, posted off angel and taking you higher to their owners. Girls and kids to garden, mow main sculpture garden I made a sink stand for shed, start my special place,( ½ done) helped kids use ride on mower, they also washed the mosaic car, M and Kathleen too Eleanor and went to Mt Worth for the day, sausages for tea Pilates, watched 1 orphan Black, did signs for pieces and fought with printers
Sunday March 29th
Fine and mild,beautiful day work on finishing birds on perch, assemble pieces from yesterday, and paint seat colours. Did “ ready to fly “piece,Afternoon tea at Don’s new place in Heathmont and his birthday.took Madge and Em home, home for Broadchurch and Fortitude.
Saturday March 28th
Cool and Gray, showers?fined up nicely, I worked on adjusting talking to the angel, winged surfer,fixed other surfer, started birds on a perch, did 19 flowers, cut out feathers for ready for flight, repainted Zeppelin, did 1 side of horse, put feet on ark, lady came to look at heart piece, nap, Noel dropped off wood, Jeanette came over for a brief talk, Etta James story tonight.Excelent, great music, great story great sound.
Friday March 27th
Showery all day Up early to go to talk on quinlong Emperor at NGV, traffic held us up and got there too late, still wandered around the exhibition almost by ourselves, lovely fabrics and paintings, not as much information as I wanted.. didn’t buy catalogue, just a couple of cards and Richard Flanagans book. Went across to Fed Square. Looked at Top arts, some lovely work painting, embroidered faces, mosaic pixelations, and some lovely layered patterns. Back to car and home via fountain gate to have lunch at chinese bar and buy ear candles, Home for naps, 2 people through garden, then me off to Moe to buy welding rods and grinding discs.Lady came and bought talking to the angel, toast for tea Back to watch 1 musketeers using ear candles. Watched 1 orphan Black, tea, then Dr Blake and Silent Witness
Thursday March 26th
Cool and Gray, fine day for most of day and at end showers, M to mind Eleanor until after 9.30, I went off to Warragul to drop in angle grinder then to Farmworld to buy another plasma cutter, Home to work on finishing Horse, set up plasma cutter and cut out WRC logo and a few flowers.nap, Sausage rolls for tea.M too Eleanor home and I watched Fury… very gritty.. good.
Wednesday March 25th
Cool and gray,fined up to a mild day M has Eleanor all day rod tiled around sink and Paul the plumber started to put in sink and loo but didn’t have the right stuff so next week, worked on WRC seat,all welding done except dancing man, started Horse and got ¾ done,meat patties for tea, Book club this evening, the dinner.watched bit of Australian comedy show and 1 orphan Black
Tuesday March 24th
Cool and gray, Belinda coming,did flowers, I worked on bird for chanette, all together , attached doors and handles for sink cupboard,finished a standing bird, unloaded trailer, Girls to garden?, Rod Mchutchison came out and did sink for bench top and cupboard and stared tiles,Dropped in Plasma cutter for repair, saw Graham Duell, dropped in money and his entry to Farmworld, got two quotes for carpet for gallery, M to Melbourne to see Madge,Nap, mini roast for tea,didn’t weld scotty back together as raining, out to meeting at arts centre re use of arts centre.( 2 people through garden), home to watch end of our greatest growth thing, and 1 orphan black.
Monday March 23rd
Cloudy showery? And 27, work on 5 characters , 2 for arc, 1 for 30 on a bike, 1 for chanette and 1 for my special place, also did a small flower, started a bird and did a seat frame , cleaned up reflective and put him near shed, nap, M sorted papers and bills most of morning, shopped in arvo spaghetti for tea, Pilates watched 1 orphan Black, worked on forms for shows.
Sunday March 22nd
Fine and Sunny drove to Parkdale, unloaded trailer, parked in service rd, Sat all day at Family fun day( 500) finished book( the dinner)did a couple of sketches, home again via red rooster for tea,nap( 15 people through garden) Scotty and Bec returned sculptures, M had a quiet morning then went with Kathleen and Eleanor to Warragul Nth Fete, home to spa, watched Broadchurch and Fortitude
Saturday March 21st
Fine and sunny with a coolish breeze, fined up over day, Off to Warragul arts market, sold 350 of stuff, saw Allison, Carmen and Natalie, Marian came and talked to Lindsay and Heather, home for nap, 8 people through garden, order for birds on stand, Pete and family gave us some junk, finished Judys bull head,Emily Rang chicken skewers for tea, walked dog, watched once upon a time features and 1 Musketeers. Caleb Rang
Friday March 20th
Fine and cool, Electrician got place lit,! I worked on stone piece( Ark)( modified stone support), and bull head, cut up Cattle race,Jase Tampaline at 12 for horseshoes,jeff offered some and I gave him some,2 people through the garden, drawing with Helen 1.00 did small sketches and 2 small watercolours, M to Melbourne to visit madge.Ian Maxfield out to see table frame wants a few modifications, Death of Malcolm Fraser..a true Liberal, out to tea at Lucianos for 39th wedding anniversary, back to read and watch Dr Blake and Silent Witness.Warned off by Jeff and Jeanette from bringing other people over to their shed .
Thursday March 19th
Fine and sunny, start work on Judy bull head, work on new rock piece( all base done) grout and sand reflective, paint a pedestal,12 flowers assembled, 3 dogs( crouching) Electrician has come to electrify the place, Anita came out to use the plasma cutter, worked for a bit then stopped, Talked to Jeanette and Anita finished over there( apparently starting a small fire) ,Sue came out or a small welding job and a brief talk, M has Eleanor all day and evening, reading the dinner
Wednesday March 18th
Cool and showery fined up to quite warm and cloudy, finish reflective mosaicing, add to stand and paint edges do a heart, seat back and wood, started new rock piece, cut up rock and started base, cleaned up 2 small sculptures dismantled one, did a lyre bird, Alan Tyers came and picked up school seat and a dog and duck. Nap, M made rice salad, M Has Eleanor all day, Incubator meeting at Anitas., lovely night with anita, Sue o, Helen,Vicky and us.
Tuesday March 17th
Cool and fine shower( at end of day.. warm change feeling all day) ? Belinda coming did flowers, Jeff had soil delivered, I did work on peacock and elephant and camel , did wendys stand and did most of mosaic for reflective ,deliver dancing girl to Ros( 800). M to Melbourne to see Madge, then sold seat to Bones( 150),nap, chicken kiev for tea, Phil and vera dropped off fire extinguishers, watched 2 Once upon a time, end of series,
Monday March 16th
Cool but fine and clear,sunny then high cloud , to Herring Island to pick up pieces, both unsold, call in and pick up bench top,shopped at fountain gate for chicken stuff TA and Janine to garden, M home.back for lunch and nap, painted pedestal, painted vickys frogs, painted Belindas ant,, finished 1 lyre bird, fixed a bird, stegosaur and pelican,did ¼ of reflective, man dropped off steel cattle crate,chinese for tea Pilates 1 once upon a time.
Sunday March 15th
Cool and gray,fined up to a beautiful day, M to 50th Kew High anniversary, me to Wild dog family day to do a stall, Cat has abcess on head,wild dog fairly quiet, about 50 people including Axel and Brenda and Jeremy, sold about $50 but bought about the same in stuff, next to Sally, Bonnie, Lisa Leslie, fish and chips for tea, M home after me, talked briefly to Jeff, watched 1 once upon a time, broadchurch and Fortitude.
Saturday March 14th
Fine morning a beautiful day, set up at Rokeby, sold 2 lyre birds, 1 peacock, 1 Kooka, 1 chook, 2 flowers( 300) saw Graham Tracelle( ist time since Robins passing) Lyn,Home 8 people through garden, Mick and isobelle and Ella and boy visited, Colin and Rosie picked up panels( 200) Bob White came and told me his sad news, taked a while, out to tea at Harvest Kitchen with Kerry and Chris and Judy and Bruce.really lovely night, watched once upon a time
Friday March 13th
Cool and mild, fined up to a beautiful day, worked in shed,did 1 pedestal painting, then 2 lyrebirds and 1 peacock, rejuvenated 1 small piece, painted other side of big 4, and repaired and painted red heart, shopped in Warragul for paint and hinges and handles, rang bench top people ( inc Rod McHutchison) , painted 4 more pedestals, M to Melbourne to see Madge, shopping,for groceries mowed bottom paddock scotty picking up some 5 sculptures for wedding,( Gave them the skipping boy piece) john picked up 2, said hello to Jeanette, Pizza for tea,3 people through garden watched 1 once upon a time, Dr Blake and Silent witness
Thursday March 12th
Cool and mild, and showery,repainted 3 pedestals, rejuvenated 1 small sculpture and did a bird, an alien, a goanna and a frog,Jeff came over and talked about his trip, and a man named John came and bought 4 sculptures( Arch, positive flow, the big 4 and the horseshoe balls) I repainted positive flow and the big 4( One side). Nap, Marian had Eleanor all day and went to Baby Rhyme time and then to Jenny Palmers place for a play date. Rissoles for tea and watched 1 once upon a time and Predestinationion movie. Added to website.
Wednesday March 11th
Fine and sunny, mild, work on assembling seats and repaired bird girl, painted 1 pedestal, rejuvenated flight of faith, did 9 birds on sticks, 2 dogs, 3 bugs ,2 weird owls,2 snails,. M has Eleanor all day, Toy Library shopped in warragul for 12mm rod( 35.90) and aldi lemon and flour, went to shire offices re closed meeting re Knackery, home for nap.tea was chow mein, watched 2 once upon a time,added to Madges story and watched witnesses.
Tuesday March 10th
Cool and Gray fined up to a beautiful day, Belinda coming painted birds and worked on ants, I go to Pakenham to pick up sculptures 8.00, paint chair, paint pedestal, revive another small piece, did 2 seat frames, 1 made into seat, did wood for this piece, went to Neerim Sth and put up sign, , M to Melbourne to see Madge, beef patties for tea, painted more wood and seats, put back 2 sculptures small walk with Barney.watched 1 once upon a time, reading 100 yr old man, downloaded Doc Watson at Merlefest
March 9th Monday
Fine and sunny, lovely day, added to website, worked on attaching back to reflective piece, do wood for columns and adjusted 2nd Balustrade, paint pedestal,cleaned up and painted leaf girl and fairy,put out 3 loads of washing M to shop with Kathleen,forgot to pick up sculptures from Cardinia, roast for tea, 6 people through garden, walk with dog, watched 1 once upon a time. Tidied desk and stuff
March 8th Sunday
Fine and sunny,perfect autumn day, basic breakfast, people heading back including u, did 2 sketches in morning, played game of exquisite corpse, drove back for lunch, nap, caught up on email etc, welded frame of reflective piece, cut out back panel, cut poems into back of Hillside,painted a pedestal, painted scotty again, 4 people through garden, sausages for tea worked on writeups for sculptures, watched Broad church and Fortitude, added photos to facebook and website
March 7th Saturday
Cool and Gray, going to Mt Baw Baw to stay overnight, help Caleb load trailer,drove up, found lodge, did 3 drawing/paintings, back to lodge after morning tea at café, had a café lunch did more sketching in arvo, Sandy, Rodney, Jessie, Zoe, Aeysha, another family and another family there, also Sue and Roger, a nice combined curry tea, reading, drawing and talking, a slightly restless night.
March 6th Friday
Cool and showery, Taxgirl at 9.00, M to Melbourne to see Madge,started reflection piece,Ryan Parsons coming in morning,wasted afternoon doing a few drawings and watching guardians of the Galaxy, Pizza for tea, said hello to Jeff going to Leeton and Murray for 5 days or so, went to Dan Sultan show in evening,did lots of very mediocre drawings, M enjoyed the Pierce brothers.Caleb and Ralph here..
March 5th Thursday
Cool and gray, showers, fined up a bit in arvo,M has eleanor all day, Bear coming, worked on calebs piece,re did scotty the fireman, also did 2 characters,, re fashioned Ballet girl( small) tidied up a bit painted wood for bases,Bear did chooks, spaghetti for tea, took Eleanor home then film night second best marigold hotel, good and age appropriate!
March 4th Wednesday
Cool and mild, M has Eleanor all day, load car and trailer for tip trip, ( 70) load car to deliver three pieces to Cardinia art show, work on 5 small characters, hopefully mig will work,( yes) did little girl for hillside sculpture and surfer with wings for Margie Hodge, cut out pieces for other sculptures, 2 girls visited garden 1 interested in welding,nap,pained with Eleanor, steak for tea, did a walk with dog, watched 1 once upon a time, did computer stuff watched sbs Witnesses show,
March 3rd Tuesday
Fine and mild, Geoff handed in bill 4600,Belinda came and made a giant ant, jeanette did practice,I continued on Hillside piece, all structure done except character,painted back of N sth wetland sign, moved all plaster waste into Trailer,Mowed rest of house block and across rd, M went to melb to visit Madge and picked up stephens door, moved all doors to house verandah, moved bench in front of shed to side, Mig sleeve damaged, had to get new one from Warragul,, nap, chicken patty and pasta for tea, did entry for sandy Point, watched who do you think you are( sam Cody) and 1 once upon a time, night walk for barney in the moonlight, back to do computer stuff
March 2nd Monday
Fine and Sunny, rang electrician to start process of setting up gallery, Vick to garden, finished dancing girl2, did Neerim Sth wetland sign and cut out Vickys frogs,picked up mower , mowed part of block, started on Hillside piece.,nap chicken skewers for tea, Pilates. Home to watch the 100 ft Journey( ok a touch clichéd)
March 1st Sunday
Cool and showery, fined up nicely, worked on updating website re diary, things sold and things to do,went to Longwarry market, bought cake, DVD’s and sanding discs, shopped at woolworths, home to do one side of dancing girl re mesh, Caleb went home, Kathleen and Eleanor came over, lunch, nap, drove Em home, tea was sausages and chips, talked to Jeff and Jeanette, Broadchurch and Fortitude.
Laurie Collins
03 5628 5224
info@lauriecollins.com.au
420 Main Jindivick Road, Jindivick VIC 3818
Copyright © 2023 Laurie Collins Website by Picton Parrot Designs
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Fugitive Visions - Paintings by Qiu Shihua and Shi Jing
Fugitive Visions - Paintings by Qiu Shihua and Shi Jing
untitled #12 by qiu shihua
Qiu Shihua
Untitled #12, 2004
sorrow in part by shi jing
Shi Jing
Sorrow in Part, 2009
Saturday, January 15, 2011Sunday, March 6, 2011
New York, NY USA
Opening Reception: Saturday, January 15, 4:00 - 6:00 pm
Chambers Fine Art is pleased to announce the opening on January 15, 2011 of Fugitive Visions – Paintings by Qiu Shihua and Shi Jing. Although belonging to different generations and representative of contrasting approaches to the process of painting, Qiu Shihua (born in Sichuan Province, China in 1940) and Shi Jing (born in Yunnan Province, China in 1971) resemble each other in the subtlety of their vision and the narrow tonal range characteristic of their works. At first glance Qiu’s and Shi’s paintings appear to be monochromatic but after careful viewing, the fine gradations of closely related tones used by both painters lead to the appearance of evanescent forms.
As a result of enforced displacement during the Cultural Revolution (1966-1976), Qiu was in his forties before he began to discover a personal means of expression. On his first trip to Europe he discovered the French Impressionists and admired the freshness of their response to the natural world but chose not to follow their example, abandoning painting from nature altogether on a trip to the Gobi Desert in 1988.
In his paintings of the 1990s, references to landscape elements were still clearly visible but as Daoism began to play an increasingly important part in his life, his painting style changed completely. He has described how his mind is blank when he first stares at the canvas tacked to the wall of his studio. A slight change in the weave of the canvas or light passing across its surface might suggest forms which are developed in an entirely intuitive manner until memories of landscapes begin to appear. Qiu has stated that he is concerned with ‘the “origin,” the genesis of experience. When I paint, I do not think of structure or theme; what I seek is a certain “flavor” – a rhythm of spirit and energy, so that the soul drifts in the painting, like a shadow of the mind.’
Thirty years younger than Qiu, Shi’s first solo exhibition was in 1991 but it was not until 2003 that his work was first exhibited widely. Unlike Qiu, Shi has turned to imagery ranging from Mount Kailash to Teresa Teng in his paintings and in the works currently exhibited gives a classical or literary dimension to contemporary subject matter through titles such as Hera, Kouros and Tyger, Tyger. Other works depict unusable objects such as bladeless working tools, glass tableware etc. Rather than the subject matter itself, however, it is Shi Jing’s working method that primarily engages his attention. Limiting his palette to white in the paintings in this exhibition, and building up forms through carefully modulated brushstrokes that catch and reflect the light in different ways, Shi Jing creates forms that can only be seen from a specific viewpoint. Seen from directly in front, his canvases appear to be monochromes. Only as the viewer walks in front of the painting to view it from the side does the immaterial image appear. This element of surprise that results from a shift in visual perception acts as a metaphor for moments of sudden spiritual insight.
Of different generations, Qiu Shihua and Shi Jing speak to each other through the medium of oil on canvas. From this painterly dialog emerged the title of the exhibition, Fugitive Visions, the title of a 1915-1917 work for the piano by Sergei Prokofiev which was inspired by a poem of the Russian Symbolist Konstantin Balmont: “In every fugitive vision I see worlds, full of the changing play of rainbow hues.”
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poster design
Diberikan kepada:
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74f327a8-d0de-4c64-866b-feacb26fe40a
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Joan Mitchell, La Fureur De Peindre
It is said of the painter Joan Mitchell that she entered a room like Katharine Hepburn entered a saloon! A look, a presence and a sound. And it was with a bang that “Big Joan”, as she called herself, came into my life, through a painting.
I first experienced this impression of being immersed without oxygen in the depth of a Joan Mitchell diptych at the MoMA in New York about ten years ago. I was struck by the energy of the brushstroke, dazzled by the power of the colours, without understanding what was happening to me. And since the violence of this sensory shock, I have never left the painter or the woman. What was the life of this unpredictable American woman, this heroine, alcoholic and angry, fascinating and frightening, powerful and so fragile, who chose to live in France? Born in 1925 in Chicago into a high-society family, Mitchell died in Paris in 1992. She established herself as a major figure of abstraction in a world that was then almost exclusively male. This account is an investigation of a free woman, free to love like a man, to drink like a man and to paint like a man.
• Language French
• Format21 x 14 cm
Meet with Angelo Tijssens on Thursday 1 June at 39 rue Lesbroussart, 6-9pm. Fr/Nl Meet with Eric Schrijver for the release of "Copiez ce livre", Thursday 15 June at 9 rue Lesbroussart, 6-9pm.
9 & 39 Rue Lesbroussart in 1050 Brussels
Open Monday to Saturday from 11am to 7pm
Your cart
Subtotal 0 EUROS
To find out the costs and delivery times, proceed to the checkout.
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fb track
account_balance Museums
Casa Buonarroti in Florence
The place that celebrates the genius of Michelangelo
Florence's Casa Buonarroti is the museum-house dedicated to Michelangelo, a place that celebrates the genius of the great artist through displays of his family's bounteous art collections.
Here you can see two famous marble reliefs, masterpieces of Michelangelo's earliest youth: the Madonna della Scala, striking proof that he studied Donatello passionately, and the Battle of the Centaurs, an eloquent display of a love for classical art which never cooled.
This 17th-century palazzo on Via Ghibellina holds artworks gathered by the Buonarroti family, including a precious, 205-page collection of Michelangelo's signed drawings, but also paintings, sculptures, majolica and archaeological finds, distributed today over the two floors of the museum.
Madonna and Child by Michelangelo
Madonna and Child by Michelangelo
The idea of creating this lavish monument to the family and their great ancestor dates back to Michelangelo Buonarroti the Younger, a peerless man of letters and culture who, from 1612, worked for 30 years on the palazzo, particularly on the Gallery and its three successive rooms. He employed the greatest artists of the era, from Artemisia Gentileschi to Pietro da Cortona, from Giovanni da San Giovanni to Francesco Furini and the young Jacopo Vignali. In these sumptuous rooms Michelangelo the Younger arranged the most precious pieces in his collection, like his great-uncle's drawing of the Madonna and Child and the predella by Domenico Veneziano's follower Giovanni di Francesco, which depicts the history of San Nicola.
Info: casabuonarroti.it
roomVia Ghibellina, 70, 50122 Firenze FI, Italia
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Also found in: Thesaurus, Legal, Encyclopedia, Wikipedia.
(kyo͝o-rā′tər, kyo͝or′ə-tər)
1. One who manages or oversees, as the administrative director of a museum collection or a library.
2. One who gathers something, organizes it, and makes it available to the public: a curator of online resources for gardeners.
[Middle English curatour, legal guardian, from Old French curateur, from Latin cūrātor, overseer, from cūrātus, past participle of cūrāre, to take care of; see curative.]
cu′ra·to′ri·al (kyo͝or′ə-tôr′ē-əl) adj.
cu·ra′tor·ship′ n.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Adj.1.curatorial - of or relating to a curator or the duties of a curator; "curatorial duties"
[ˌkjʊərəˈtɔːrɪəl] ADJ the museum's curatorial staffel equipo de conservadores del museo
curatorial expertiseconocimientos mpl de conservación
adj the museum’s curatorial teamdie Kustoden pldes Museums
Mentioned in ?
References in periodicals archive ?
While the idea of Nomad's journey being presented in a visual manner amounts to a curatorial concept, the execution of it was lacking in terms of an overall curatorial experience.
Contract notice: tender: creative conception and design as well as planning and realization of the curatorial reorientation and cultural mediation of selected bauhaus buildings in dessau
One of the new structures is the 37,000-square-foot Curatorial and Operations Center.
Gamboa said three scholars are already abroad including Jenibel Paray who has started her fellowship at the Smithsonian Institute in Washington DC, curator-writer Lian Ladia, now completing her curatorial program at the Center for Curatorial Studies in Bard College, New York and visual artist Nikki Luna, who recently opened her show at the Owen James Gallery in New York.
Cobro 188 mil 601 pesos del 2 de marzo al 31 de julio de 2015 por coadyuvar en el proyecto curatorial y museografico de la exposicion Francis Alys: Relato de una negociacion--disenada curatorial y museograficamente por Cuauhtemoc Medina con un costo de 206 mil 896.
Building on the success of the 2015 inaugural programme, Mathaf: Arab Museum of Modern Art, Doha organises its second Curatorial Summer Camp from September 4-9.
Each gallery in the museum's ground floor exhibition space is dedicated to one artist and touches upon specific themes in their practice, allowing visitors to experience their productions through the lens of curatorial interpretations of historical contexts, materials and aesthetics, while interrogating the museum's role by building academic and curatorial research on Mathaf's permanent collection.
Taking the museum model as a starting point, this work provides practical guidelines for freelance or independent curators, as well as other types of curators and curatorial students working in traditional and nontraditional venues.
The exhibition has been curated by AndNow Curatorial which is a curatorial collaborative established in 2013 by two art museum and gallery studies graduates Helen Robertson and Kimberley Gaiger, working closely with mima.
Along with the growing collections came the need for an expansion of the ROM's curatorial department.
Explore the eight sculptures in Mark di Suvero at Crissy Field with our exhibition mobile tour, which blends interviews with the artist together with curatorial commentary and insights from the National Park Service.
Delivering, in great detail, the conflicting views of a variety of influential curators, theorists, art historians, and artists, his dense historical read provides a survey of curatorial discourse, but falls short of investigating what it really means to curate today.
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£ 450.00 UK p&p is FREE
( while the gallery is closed )
Swallows on a Wire
£ 475.00 UK p&p is FREE
( while the gallery is closed )
£ 875.00 UK p&p is FREE
( while the gallery is closed )
Darren Dearden, based in Leicestershire has been a commercial artist for over 25 years. He left formal education and took a position as a studio junior within an advertising company who produced artwork for a variety of publishers. This started off Darren's initial and useful impact as an artist.
From bold and abstract compositions of shape, contour and colour to intricate textured work. Darren, now working in Bath, continues to push his work in all directions evolving in subject matter, mediums and styles.
"Although sometimes simple in appearance and creating underlying emotions, my work is complex and carefully crafted to the enquiring mind so that in the end a part of myself shows through as well as the meaning behind it".
His work reflects thoughts and aims to lift the spirit and promote a sense of harmony. Inspired by events around him his paintings are a celebration of life and all its layers and relationships.
Darren works in a variety of mediums and his subjects are wide ranging and chosen because they complement his working style.
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Milan Zulic
Dati e contatti
Multi-disciplinary artist based in Switzerland. Through a variety of media his work explored possibility for creativity out of silence and emptiness of heart. Before creating art, he have to be so humble, almost nobody, a hollow bamboo. In this absence, there comes a great universal flood. That flood can become poetry, a painting, music, a dance, a sculpture. Thousands of dimensions are available, Milan just trying allow it, simply allow it the universe to flow through him. Over the past 30 years he has been receiving many international awards and recognitions. His paintings, sculptures, photography, video, extended media has been shown on 35 solo exhibitions and more than 250 collective exhibitions in Belgrade, Novi Sad, Podgorica, Rijeka, Zagreb, Ljubljana, Napoli, Trieste, Piran, Gdansk, Varna, Sofia, Athens, Skopje, Barcelona, Valencia, Málaga, Marseille, Zürich, Warsaw, Buenos Aires, Santa Fe, Shillong, Kochi, Sao Paulo, Rio de Janeiro, Leon, Toluca, Coventry, Cairo, Walparaiso, Camagüey, Coimbra, Vila Nova de Famalicão, Newark, Vancouver, Long Island City, Sao Luis, Rennes, Nantes, St Malo, Maubeuge, Stuttgart, Düsseldorf, Antwerp, Liège, Nenagh, Luxembourg, Moscow, Amorgos, Sikinos, Kalamata, Zanjan, Guadalahara, Monterrey, Mexico City, Rome, Milan, New York City, Seoul, Kuala Lumpur … This artist, who cannot be measured by the volume of works and exhibitions, is not only someone with an enormous artistic potential but also someone who’s best work is to come…
Il curriculum organico viene visualizzato solamente per gli artisti iscritti a CertArt che abbiano inserito le attività. Scopri di più su certart.com
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Screenshot from Virtual Choir Games Opening Show
The Corona crisis and its effects on the choral world
2020 has shaped the (choral) world like never before
International Choral Scene
Around the turn of the year 2019/2020, the first news about the novel Corona virus reached the world. China in particular, but also numerous other countries, found themselves in a difficult situation and everyday life came to a standstill. The virus continued to spread and new infections were reported daily.
The Chinese city of Wuhan was hit hardest at the beginning of the year. But the rapid spread of Covid-19 soon meant that the entire world had to face the pandemic and all the challenges it entailed. This globe-spanning crisis had a profound impact on humanity - and the choral world in particular. We all had to keep our distance - and yet we have moved closer together - even across national borders!
And then there was silence…
The pandemic brought public and private life to a standstill. In many places, a state of emergency was declared and a lockdown imposed. Stores, restaurants and cultural institutions had to close, and schools and workplaces were moved home.
This life at a distance also hit the choirs of this world especially hard. Concerts, festivals and even choir rehearsals had to be cancelled or postponed and stages remained silent. In most countries, choral life has come to a complete standstill and many choirs and choirmasters have lost their financial support and perspective. Li Peizhi, president of the Chinese Choral Association, described the feeling of these drastic impairments of everyday life in an interview as a “train that comes to an abrupt halt”.
In all areas of life and also in choral work, the technical possibilities of our time and global networking with the help of the Internet gained completely new relevance and significance from one moment to the next. The choirs around the globe did not lose confidence and developed ideas to continue to live out their passion for choral music, to maintain their choral community together with their fellow singers, to stay positive and to break new ground in terms of rehearsals - and the silence of the choral world did not last long.
…but not for long
Tim Sharp, a member of the Advisory Board of the World Choir Council, wrote in an interview that “singing not only gives something to the listener, but also to the individual singer. Singing requires us to use our bodies and connects us directly to our emotional lives.
Every single aspect of the singing process is physical. And, while the experience of singing is highly individual, choral singing connects and harmonizes these individual sounds into a community.“
Music is a powerful, courage-giving force that connects people and inspires spirits. In many places around the world, music was played together just as the pandemic began. Neighborhoods sang together on their balconies, at their windows or on the street and grew closer. This community at a distance, this community in music and song, has also given hope to many people.
The choirs were particularly limited in their work and could only meet virtually. But they got creative and took advantage of the new technologies: choir rehearsals online, classes at home in the living room, virtual choir projects, video premieres instead of performances in concert halls.
Besides all these creative projects and new approaches to choral work, this time of special challenges has also brought the choral community closer together.
The (choral) world has come closer together
Of course, all these approaches and the virtual choir projects cannot replace the community of the choir and the experience of a live performance, but they have given confidence to the singers of this world. New ways were tried out to continue learning together and to continue singing together.
With the help of workshops, online tutorials or direct exchange in social networks or forums, choirs and choir directors helped and supported each other.
Following INTERKULTUR‘s motto “Singing together brings nations together”, many choirs have also used these projects and collaborations to come together virtually with other choirs from all corners of the world.
The new possibilities of technologies were used extensively and became a popular tool to overcome creative self-isolation, which also affected the rehearsal process. Even though synchronous singing and choral rehearsals in large groups are technically impossible or difficult, the digital applications are a good opportunity to maintain social contacts and community.
Li Peizhi, president of the Chinese Choral Association, said in an interview, “I think people, and especially musicians, are using their ability and energy to express and transmit their emotions and their thoughts. [The] projects are wonderful because the message they send out is consistently positive and has made people realize the great power of music.”
This bond and solidarity that has united the choral world in recent months, even if only virtually, will hopefully accompany us in the future and we should continue to cherish it. What will the new normal look like
after the pandemic?
The questions that now arise at the beginning of the new year, as vaccinations begin worldwide and (hopefully) with the end of the crisis in sight: What are the lessons we learn from this crisis? What impact will these experiences have on the choral world and how will choral work change?
Russian choral legend Vladimir Minin commented on this in an interview: “Digital technologies are a temporary means, a way out, a tool for information exchange - but nothing more. No technology can convey the living energy of the choir, and the subtle intricacies of the movement of its collective soul.“
Li Peizhi, President of the Chinese Choral Association, has a similar view: “These new forms of singing and online lectures are currently very popular all over the world. I personally think that this is a special countermeasure in a special time to satisfy the strong desire for singing. Choral singing is a fantastic way for people to communicate emotions, but this requires contact and time to rehearse. Therefore, it‘s imperative that we experience the artistic engagement that occurs in actual rehearsals to unleash the full beauty and charm of the choral art.“
Tim Sharp, a member of the Advisory Board of the World Choir Council, hopes “to be able to use these tools when we sing together again. I firmly believe that we will emerge from this time stronger, and we will also have learned how to teach and communicate with new tools that are appropriate for choral music education, performance, composition, and advocacy.”
Digital technologies are good and valuable tools for the current time and they will certainly be able to enrich choir work in certain areas in the future. However, it is also clear for the choral world that the virtual will not be the new normal. What is missing is the interpersonal aspect, the dynamics, the immediate communication with fellow singers - the essence of singing together that we all sorely miss.
We don‘t know what the future will look like, but we are confident that it will be beautiful and, above all, full of singing!
(by Franziska Hellwig)
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Anatomy Diaries II: Sanguis et Cæli
0.5mm HB Mechanical Pencil, 0.1mm Marker and Ballpoint Pen, A5 on Spotted Paper
After covering the fundamentals that serve as a foundation our knowledge would be built upon, the cardiorespiratory system follows (just straight after the exam of the first module because this course has no chill).
スキャン 4
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A little flow diagram for the route of blood in these vessels. I made a larger one that covers the entire body to the extent of how updated I am with current lectures. I had a hand-drawn version that needed to be kept updated so much I eventually gave up and did it electronically.
スキャン 5
Paranasal Sinuses and structures of the Nasal Cavity.
Whilst drawing the faces, I found that I have a tendency to have the right eye higher than the left one. Maybe it was due to lack of practice. Also used the Glagolitic script to label some parts of the diagram.
スキャン 6
Major components of the larynx, the vocal cords and the gateway to the lungs.
Thus this module is concluded.
Tell m
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Henderson Designs US Presentation at Ambiente 2015
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May 11 2023 Share
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Arrow-right Camera
The Spokesman-Review Newspaper
The Spokesman-Review Newspaper The Spokesman-Review
Spokane, Washington Est. May 19, 1883
Cloudy 26° Cloudy
A&E > Music
Gonzaga Theatre & Dance and Kyle Davis present free, virtual ‘Dance Presents!’
UPDATED: Thu., Nov. 12, 2020
Kyle Davis leads a Gonzaga Ballet Ensemble class via Zoom on Oct. 17. (Chiana McInelly/Gonzaga University)
Kyle Davis leads a Gonzaga Ballet Ensemble class via Zoom on Oct. 17. (Chiana McInelly/Gonzaga University)
Gonzaga University’s Theatre & Dance Department is presenting its second annual “Dance Presents! Concert” at 7:30 p.m. Saturday. The free event, livestreamed from the Myrtle Woldson Performing Arts Center, will feature original choreography by Kyle Davis, principal dancer with Pacific Northwest Ballet, and the Gonzaga Ballet Ensemble.
Set to Tchaikovsky’s “Variations on a Theme, Op. 35” for string orchestra by Anton Arensky, Davis’ choreography features contemporary movements highlighting the human body in motion.
Arensky’s score, inspired by Richard Henry Stoddard’s “Roses and Thorns,” merges with expressive movement, and organizers hope viewers will transport themselves into the flower gardens of their childhood during the showcase.
Before the Gonzaga Ballet Ensemble’s performance, Davis will debut two original “screen dances,” and faculty member and costume designer Leslie Stamoolis will join him to discuss taking a design from paper to stage and their inspirations.
Saturday evening’s performance can be viewed on facebook.com/gutheatredance and youtube.com/watch?v=tYjkwl10FzU.
In January, Gonzaga Dance hosted Peter Boal, artistic director of Pacific Northwest Ballet, as he hosted regional auditions for PNB School’s Summer Intensive. At the time, Boal also led a master class for Gonzaga dance students and began talks of potential future collaborations with dance program director Suzanne Ostersmith.
Boal introduced Ostersmith to Davis, and they had conversations about working together. Faced with the pandemic, the two wanted to make a collaboration possible for students. In October, Davis guest taught classes at Gonzaga via Zoom and began work with the GU Ballet Ensemble. The students are excited and honored to share the new dance work by Davis.
The Ballet Ensemble is composed of 12 dance students from a variety of majors and minors selected to represent Gonzaga Dance.
The students have continued to develop their technique in preparation for the performance under the guidance of dance faculty members Pam Erickson and Sarah Glesk.
“After seeing rehearsal Wednesday night, I can say this is an amazing story,” Ostersmith said via email. “It’s a story of hope if ever there was one.”
The online performance is free, but donations to Gonzaga’s Dance Endowment are welcome at bit.ly/2Gy5TUz
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Mapei waterproofing and ceramic systems used for American school swimming pool
Mapei systems have been installed for the construction of a swimming pool at the American School in London, St John’s Wood. Complete waterproofing and ceramic tiling solutions were installed over a nine month period to areas in the pool tank and changing room interiors and exteriors.
The American School in London was founded in 1951 and currently educates 1,350 pupils. The new swimming pool is part of a £10m development comprising underground sports centre with fitness studio, multipurpose room, and changing facilities along with a 25m swimming pool where Mapei’s involvement in the project was focused. As the 1,430m2 sports centre is below ground level, curved changing rooms with brightly tiled walls reflect the available light, while voids allow natural light to flood the space.
The project was completed whilst the school remained open, which meant materials had to be installed quickly and with as little disruption as possible, without compromising on quality. EP Ceramics installed Mapei’s Planitop Fast 330, a quick-setting, fibre reinforced cementitious mortar to smooth out surface irregularities for the pool area. The waterproofing system was then installed, comprising of Mapei’s Mapelastic to protect the concrete structure against cracking and to provide a waterproof barrier. The alkali-resistant fibre glass mesh Mapenet 150 was specified to reinforce the waterproof membrane. Mapelastic was again installed on top of the Topcem screed and Mapetex anti-fracture membrane before installing tiles. Eporip solvent-free epoxy adhesive was used to seal any cracks in the screed before laying ceramic tiles which were fixed with Mapei Keraflex and grouted with Ultracolor Plus grout in shade 112 Medium Grey in the pool tank.
Matt Dudley from EP Ceramics commented:
“The installation was made easier by the early involvement of the Mapei team working alongside ourselves and the architect to produce an M40 with the correct products for each stage of the works. Fixers working on the job commented on how high the standard of products being used were, not only for ease of use, but for workability and drying times allowing each stage of the process to progress smoothly. Going forward on future projects we will be pushing the architects and designers to use Mapei products and technical expertise.”
Orms architects oversaw the project and specified Mapei’s system. Rosie Bard from Orms Architects commented:
“Mapei was the obvious choice for a high end swimming pool environment such as this. The quality of the design, finishes and fit out meant that a product was required that met both the technical and aesthetic requirements “
The Mapelastic waterproofing system was specified for the changing room areas to the walls before fixing tiles. Again the complete Mapei ceramic system was specified, with high performance adhesives used to fix the tiles. Keraflex Maxi was specified for the tiles to the stair risers and Keraquick together with Latex Plus were used to install porcelain, stone, ceramic and glass tiles. Ultracolor Plus grout in shade 114 (Anthracite) was used on tiles in the pool surround an changing room floors, and Ultracolor Plus grout in shade 112 (Medium Grey) for the changing room walls and glass mosaic. To finish the project, Mapei’s Primer FD adhesion promoter was used to prime the edges of the movement joints subject to prolonged water immersion, before the Mapesil AC sealant was applied in matching shades to the Ultracolor Plus Grout.
Email info(Replace this parenthesis with the @ sign)mapei.co.uk or tel. +44 (0)121 508 6970 for more information on how Mapei products can be used in your project or visit www.mapei.co.uk to view the full product range.
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Julie in Japan
I just received the 2008-09 NC Choreography Fellowship and will be going to Japan June 16 – September 15 to study butoh. At the present I am arranging housing. I am planning to stay in Yokohama near Kazuo Ohno’s studio where I will be studying 3 days a week. I have also been in touch with Akaji Maru (director of Dairakudakan) and Semimaru (director of Sankai Juku) and plan to take their workshops in August. Natsu Nakajima worked with Hijikata during the early years of butoh and is still an active force in the world of international butoh. I have connected with her and arranged to study in Tokyo.
I am so excited and a little nervous about my impending visit to Japan. I know it will be a time of personal growth for me as an artist. Though I have been studying Japanese, the language is quite difficult; I am an old dog and it is hard to learn a new trick.
This entry was posted in Julie in Japan on by .
About Julie
The Asheville Butoh Festival is directed by the Asheville area butoh dancer, choreographer, and teacher Julie Becton Gillum. As founder of three modern dance companies, and ultimately Legacy Butoh, Gillum has been creating, performing and teaching dance in the US, France, Cuba and Mexico for over 40 years. Gillum’s primary form of artistic expression has become butoh, which she has been practicing, performing, and teaching since 1998. She has created and presented major pieces in the genre at a variety of venues in New York, Chicago, San Francisco and Mexico. Gillum was awarded the prestigious 2009 Choreography Fellowship by the North Carolina Arts Council, which enabled her to travel to Japan to study with renowned butoh masters Yoshito Ohno, Natsu Nakajima, Akaji Maru, and Seisaku.
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Skip to content
May we suggest
Reviews / August 22, 2018
David Milne
Vancouver Art Gallery, June 16 to September 9, 2018
David Milne, <em>Reflected Forms</em>, 1917, watercolour on paper. Courtesy Vancouver Art Gallery. Collection Art Gallery of Greater Victoria, Women's Committee Cultural Fund David Milne, Reflected Forms, 1917, watercolour on paper. Courtesy Vancouver Art Gallery. Collection Art Gallery of Greater Victoria, Women's Committee Cultural Fund
Before “David Milne: Modern Painting” opened in Vancouver earlier this summer, the show’s iteration at London’s Dulwich Picture Gallery was met, at times, with aggressive criticism. Most notably, Jonathan Jones writing in the Guardian was loudly displeased: “One of Canada’s greatest painters? Come off it!” The Vancouver Sun’s Kevin Griffin agreed, and proclaimed it the kind of exhibition that “gives painting a bad name.” Despite this reception, Milne is often the subject of national praise here in Canada, regarded (in hindsight) as a worthy contemporary of the Group of Seven. Judgements of value, especially when looking at art by a canonical figure like Milne, often come down to some supposedly objective quality of “good” or “bad.” But with Milne this tendency arguably misses the point, though the polarized responses from critics are fitting: the through-line of the exhibition is embodied in the presence of a constant tension—on the canvas, in the subject matter, and in the show’s reception.
One of the most interesting aspects of Milne’s work is the evidence of international influence. In Drift on the Stump (1921), Milne carried out experiments of light and time, following Claude Monet’s Haystacks series (1890). Borrowing from the Impressionists, Milne abandoned local colour in service of a more subjective form of perception, as in his Interior with Paintings (1914). Like Henri Matisse, he embraced colour over line and, in 1913, five of Milne’s paintings were included in the Armory Show, which also included Matisse’s The Red Studio (1911). After that exhibition, Milne’s work continued to develop in lockstep with his artistic contemporaries, celebrating an increasingly fractured, frenetic style of painting that wasn’t bothered by mainstream conventions of a work’s beauty.
A decade before the Armory Show, Milne had moved to New York to study and work as an illustrator and graphic designer, only to become disillusioned and jaded by the commercially driven city. By 1916, he was convinced that he could survive only in the countryside. After leaving New York, Milne travelled as a war artist to the battlefields of the First World War, but missed the war itself, capturing instead the disastrous after-effects of mines, bombs and artillery on fields in France and Belgium. He returned to Boston Corners, New York, and then in 1929 moved to Temagami, in northern Ontario, where he chose to live and work in poverty and isolation. Both overseas and in Ontario, he painted his surroundings. “David Milne: Modern Painting” juxtaposes these points, capturing the vastness of Milne’s shift as an artist. His visual idiom progressively underwent processes of reduction and abstraction through experimentation, until nothing beyond the necessary was present in his canvases, as in The Twins Crater, Vimy Ridge (1919). Notably, the war paintings he created, ahead of his time spent on the actual battlefields, were formally similar to his colourful, vibrant paintings of New York.
The paintings he produced after returning to Canada feel grim. He worked mostly in muddied blacks and browns, preoccupied with soil and mine runoff, and he created elaborate abstractions of the backcountry: white waterfalls, collapsed mine pits, dark reflective lakes. In all these tensions—between time spent in Canada and England, between war and peace, between life in New York and Temagami, between light and dark, colour and line—his oeuvre creates a portrait of the artist himself. His was a mind through which international visual idioms and Eastern Canadian wilderness coalesced into a Canadian modernism, important for its uniqueness and its innovation. As the exhibition’s co-curator, Sarah Milroy, noted at the opening, Milne, more than any other modern painter, taught her to appreciate the Eastern Canadian landscape—not by looking out over the horizon, but by looking straight down at muddied forest floors.
Megan Jenkins
Megan Jenkins is a writer, editor and graduate student grateful to be living and working on the traditional, ancestral and unceded territories of the Squamish, Musqueam, and Tsleil-Waututh First Nations.
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Sep 19th 2018 | Posted by Kevin Thomas - Director of Business Operations
Artisan - The Real Meaning
ar-ti-san
noun: artisan; plural noun: artisans
"An artisan is a skilled craft worker who makes or creates things by hand that may be functional or strictly decorative, for example furniture, decorative arts, sculptures, clothing, jewelry, food items, household items and tools or even mechanisms such as the handmade clockwork movement of a watchmaker.
Artisan is a word that is often over used. You will see this word in reference to a hamburger bun from a fast food place, or a mass produced, printed piece of wall art in a big box store. It's become an eye-catching word used in marketing campaigns to set themselves apart from normal, everyday adjectives.The fact is that the reason it is used so much is because something that is actually crafted by an artisan is of unique and high value. And in attaching this word to an ordinary product it is supposedly adding unique value to the ordinary.
Every day at our forge our Artisans, Craftsmen, use the skill of their trade to create the extraordinary. We don't use this word to fictitiously add value to the products that they make. This is artistry and craftsmanship in it's true form. Yes, there are machines involved and the trade has evolved over the years, but each piece is still hand fitted. Every placement of a branch or leaf, a scroll or vein is the decision of the Craftsman behind the tool.
We're proud of the heritage of our trade and the tradition of bending and shaping iron into something that's not only useful but beautiful at the same time. Someone that can mentally visualize the end product, pick up the raw and lifeless material, put it through the stress of the tools and come out with the same real product that was originally just a mental picture is an Artisan. Just as the product that they create carries real and unique value, the Craftsmen themselves carry that same value to us.
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March 30, 2010
6 City Art Buying Guide
Every summer, collectors from around the world flock to these market hot spots in search of the ultimate piece. Here, the fairs, galleries, and people to know.
Native American Art
A historic trading center in a region dotted with pueblos, Santa Fe is the epicenter of the Native American art market. With dealers offering top-quality and increasingly rare material, the city is a magnet for buyers. The list of prominent collectors who have homes here includes Edwina and Charles Milner, Joann and Gifford Phillips, and Emily Fisher Landau, who sold a big chunk of her collection at Christie's in January for $1.8 million.
When it comes to antique Indian art, the leading galleries are around the plaza in the center of town and out along Canyon Road and West San Francisco Street. Material ranges from Panamint baskets, Plains ledger drawings, and Pueblo pottery to Navajo blankets, Cheyenne garments, and the now hard-to-find Hopi kachina dolls. In August the annual Indian market in the plaza brings in 1,200 exhibitors from about 100 tribes selling handmade contemporary work. In breadth of activity, Santa Fe "definitely surpasses Tucson and Scottsdale, its nearest rivals," says Henry "Chick" Monahan, director of Morning Star Gallery. "The quality of material here is the highest and the range is the best."
Morning Star Gallery
For serious collectors, Morning Star deals in some of the choicest pieces to be had anywhere. The 22-year-old gallery is also one of the largest and most diverse in the Native American field, exhibiting at world-class fairs such as New York's Winter Antiques Show—where this year it sold a Powhoge polychrome ceramic storage jar, circa 1775, for around $225,000. At presstime the offerings in the gallery included a large group of ledger drawings made in 1879–82 by Frank Henderson, an Arapaho, priced from $20,000 to $30,000 each. Monahan notes that such drawings are now especially coveted and have even turned up at the contemporary fair Art Basel Miami Beach. The gallery also has a prime selection of Washo baskets from the first quarter of the 20th century, which Monahan calls "the heyday of Native American basketry production." And a rare 1860 Nez Perce war shirt is available for $220,000. At 513 Canyon Rd.; 505-982-8187; www.morningstargallery.com.
Michael Smith Gallery
A private dealer for a decade before opening this gallery in 2003, Smith, a textiles specialist, shows Navajo weavings from 1870 to the mid-20th century, priced from $1,000 to $25,000. "They are from a window of time and will never be replicated," he says. A gorgeous 1910 example that can be traced to the Teec Nos Pos, a trading post in the Four Corners area of northeastern Arizona, is $10,000. The pictorial design features arrows at the edges and center, with a hook motif at the border that shows the influence of Oriental carpets. At 526 Canyon Rd.; 505-995-1013; www.michaelsmithgallery.com.
Kania-Ferrin Gallery
Headed by John Kania, a former anthropologist, and Joe Ferrin, this gallery specializes in the basketry that many tribes have stopped making. Prices are on the rise, especially for the fine weaves of the southwestern tribes (and for the larger baskets in general). Their gems include a single-rod weave Pomo basket, from 1890 to 1900, with original clamshell bead decorations and quail topknots, priced at $16,000. At 662 Canyon Rd.; 505-982-8767; www.santafe-websitedesign.com/kania.
Grimmer-Roche
Open by appointment only, this private gallery is a partnership between former Morning Star director Malcolm "Mac" Grimmer and David Roche, a consultant to Sotheby's American Indian department. Grimmer says business is strong for "any historic pots, great baskets, and very good Plains beadwork." One of their top pieces is a $300,000 Cheyenne war shirt with extensive beadwork, from around 1850. At 422 W. San Francisco St.; 505-982-8669; www.grimmerroche.com.
Steve Elmore Indian Art Gallery
Indian pottery collectors covet pieces attributed to known makers, says Elmore, an expert in historic ceramics. He has an 1898 seed jar crafted by the Hopi potter Nampeyo, for $28,000. Though she never signed her work, her pots are identified by, among other qualities, their distinctive polychrome abstract decoration. Elmore is also offering a San Ildefonso olla circa 1910, with black-and-red floral and geometric designs. Tagged at $31,500, the work is attributed to the esteemed potting couple Martina Vigil and Florentino Montoya. At 839 Paseo de Peralta; 505-995-9677; www.elmoreindianart.com.
Robert Nichols Gallery
For the most innovative contemporary Native American pottery, this is the shop. Here Nichols shows hot young artists such as Diego Romero of the Cochiti Pueblo, who makes pop culture–infused pots decorated with action figures that riff on traditional Mimbres ceramics ($2,000–$10,000), and Nathan Begaye, a Hopi-Navajo potter who creates ceramic masks inspired by ancient Hopi kachinas ($1,500–$2,500). At 419 Canyon Rd.; 505-982-2145; www.robertnicholsgallery.com.
Santa Fe Indian Market
The Southwestern Association for Indian Arts, which organizes this annual market, requires that all work exhibited must be handmade and cannot include anything commercially produced. For collectors of contemporary Indian textiles, ceramics, and jewelry, it is an essential event. Notable are the many young Native American artists giving their traditions a decidedly current twist, such as potter Jacob Koopee Jr. (the great-great-grandson of the Hopi master Nampeyo); bead artists Teri Greeves (a Kiowa) and Marcus Amerman (a Choctaw); and Navajo weaver Anita Tsosie, who does contemporary interpretations of medicine ceremonials. The quality here is generally high, and it's easy to spend several thousand dollars on a pot or a rug. This year's market takes place August 19 and 20. 505-983-5220; www.swaia.org.
Works of Sculpture
June has long been high season for the London art world, when dealers, auction houses, and museums put out their finest for the annual pilgrimage of collectors and curators from all over the globe. Three years ago a dozen top galleries launched Sculpture Week, a series of coordinated exhibitions in mid-June aimed at reaching out to established and new buyers and promoting London as an international center for sculpture.
The event covers everything from Greek and Roman antiquities to Asian pieces to modern and contemporary works. It serves as a kind of cross-section of the broader London market, which boasts a greater depth of expertise than any other city. Not only can many of the world's leading dealers and restorers be found here, but there are superb public collections, such as the permanent display of European sculpture at the Victoria & Albert Museum. "It's what London is good at," says medieval art specialist Sam Fogg, one of the dealers in this year's Sculpture Week, which runs from June 15 to 23.
All the participating galleries are within walking distance of one another in the Mayfair area of the city, and they host opening-night receptions on June 14. Stuart Lochhead, a director of the Daniel Katz gallery and the organizer of Sculpture Week, remarks, "It's an alternative model to an art fair. The great thing is that the dealers don't have to leave their galleries." 44-207/493-0688; www.londonsculptureweek.com.
Rossi & Rossi
Anna Maria Rossi and her son Fabio specialize in works of art from Tibet and the Himalayas. During this Sculpture Week they are unveiling a late-17th- or early-18th-century Mongolian gilt-bronze figure of a Buddhist deity from the studio of the great artist Zanabazar, priced at more than $850,000. Only about 20 of Zanabazar's sculptures are known to have survived. New interest from "Far Eastern collectors who are beginning to buy Himalayan art," says Fabio Rossi, is helping to push up prices. At 13 Old Bond St.; 44-207/355-1804; www.asianart.com/rossi.
Daniel Katz
The world's best museums buy from the veteran Katz, who deals in top-notch European sculpture from medieval times to the 19th century and is renowned for his fantastic eye. The gallery recently sold the Wenlock Jug, a medieval English bronze tankard coveted by New York's Metropolitan Museum of Art, to the Luton Museum in Bedfordshire for $1.3 million. This June they will be showing terra-cottas from the 15th to 20th centuries, mainly French and Italian—one notable example is Benedetto da Maiano's late-15th-century marble figure of Saint John the Evangelist, a piece made for the altarpiece of a Naples church. At 13 Old Bond St.; 44-207/493-0688; www.katz.co.uk.
Robert Bowman Gallery
Husband-and-wife dealers Robert and Michele Bowman specialize mainly in late-19th- to mid-20th-century English and French sculpture, though they also sell a selection of contemporary works. In June they are offering a 23-inch-high cast of Auguste Rodin's bronze The Kiss for $442,500 and The Sentinel, a three-foot-high bronze figure modeled by the British artist Michael Ayrton in 1962, priced at $39,000. "There is a big demand for trophy pieces by well-known artists such as Rodin because people are buying blue-chip art with confidence," says Robert Bowman. At 8 Duke St.; 44-207/839-3100; www.robertbowman.com.
Sam Fogg
"Stone sculpture is what people seem to want because it fits well into modern interiors," says Fogg, one of the world's leading dealers in medieval art. His Sculpture Week exhibition features around 30 religious works from the 11th to 16th centuries, highlighted by a 15th-century alabaster altarpiece with scenes of the Passion, carved in the English city of Nottingham. He also has four 11th-century Italian marble relief fragments, carved on both sides, which are thought to have once been part of a screen. Prices in the show range from $10,000 to $700,000. At 15D Clifford St.; 44-207/534-2100; www.samfogg.com.
Rupert Wace Ancient Art
"The antiquities market is strong for well-provenanced, high-quality pieces, of which there are a finite number," says Wace, who handles Egyptian, Classical, and Near Eastern antiquities along with European works from prehistoric times until A.D. 1000. His personal passion is Egyptian art. Although traditional collectors form the core market, he notes, decorators and contemporary art buyers are increasingly attracted to antiquities. In June Wace is exhibiting a second- to first-century B.C. Greek terra-cotta figure of the goddess Aphrodite for $50,000 and an A.D. fourth-century Roman marble head of a bearded man, perhaps a river god, for $85,000. At 14 Old Bond St.; 44-207/495-1623; www.rupertwace.co.uk.
Sladmore Gallery
Bronze animal sculptures have been Sladmore's speciality since it was founded in the sixties, but the gallery also handles a range of other 19th-century bronzes and selected modern and contemporary sculptures. "There is an enormous demand from collectors for monumental pieces, usually for their gardens but sometimes for big houses," says gallery director Gerry Farrell. British sculptor Geoffrey Dashwood's seven-foot-high Tawny Owl ($93,000) and Rembrandt Bugatti's Walking Puma, a tabletop-size bronze modeled around 1911 ($400,000), are among Sladmore's Sculpture Week highlights. At 32 Bruton Pl.; 44-207/499-0365; www.sladmore.com.
Aboriginal Art
Australia's Aborigines have been making art for thousands of years, but much of the work now on the market was created after 1971. That was when community advisor Geoffrey Bardon encouraged Aborigines in Papunya Tula, outside Alice Springs, to transfer their nonsacred ancestral motifs and narratives—once rendered on bark, sand, rock, and the body—onto paper and canvas using Western materials.
Today, strikingly contemporary interpretations of the pioneering "dot and circle" compositions (often compared to American minimalist paintings) are attracting growing international interest, notably among collectors of modern and contem-porary art. The finest works by Aboriginal stars Clifford Possum Tjapaltjarri, Emily Kame Kngwarreye, and Rover Thomas have soared to hundreds of thousands of dollars at auction.
This rush of popularity has spawned a cottage industry in mediocre knockoffs, which can be found in tourist stores across Australia. There are also cases of paintings being farmed out to "cousins" and problems with outright fakes. "The last time I was in Alice Springs," says Melbourne dealer William Mora, "my taxi driver had paintings from a dozen 'artists' in the boot." He notes that the best galleries have forged long-standing relationships with Aboriginal communities, ensuring that the galleries show only genuine talent.
Aboriginal art can be found in all the country's major cities, but Melbourne is the leading market center. It is home to top dealers, and the highest-profile auctions are held here each winter. For those looking for a primer, the National Gallery of Victoria is showing "Land Marks," a rare survey of Aboriginal art stretching back to the 1880s, through June 11.
Auction competition has heated up here in recent years, but Sotheby's—the first house to grasp the market potential of Aboriginal art—still outpaces rivals Lawson Menzies, Bonhams & Goodman, Shapiro Auctioneers, and Christie's, which announced in March it is closing its salesrooms in Australia. On July 31 Sotheby's is staging a special tenth-anniversary auction in Melbourne. After some mixed results the past couple of years, the company is looking to recapture the roaring success of its record-setting 2003 sale, which topped $5.5 million. Tim Klingender, Sotheby's head of Aboriginal art, attributes the drop-off to not "having some of the magnificent works we had earlier." The July auction, he says, "will be smaller and more highly curated." One highlight is a 1986 work by Rover Thomas, Lissadell Country–Bugaltji, estimated to bring $300,000 to $450,000. At 926 High St., Armadale; 61-39/509-2900; www.sothebys.com.
Gallery Gabrielle Pizzi
Early among dealers in recognizing the power of Aboriginal art, the late Pizzi mounted a seminal exhibition of paintings from Papunya and Yuendumu in 1987. The loftlike gallery in the city's center, now run by her daughter, Samantha, demonstrates that Aboriginal art is not tradition-bound, presenting photographic collages from Leah King Smith and wiry sculptures from Lorraine Connelly-Northey. At 75–77 Flinders Ln.; 61-39/654-2944; www.gabriellepizzi.com.au.
William Mora Galleries
Four or five times a year, Mora goes into the bush to meet with artists. "The more remote the area, the stronger the art," he remarks. This is definitely the case with one of his artists, Paddy Bedford, who does spare interpretations of traditional dot and circle paintings, with evocative expanses of rich earth tones. Mora also has significant works by Emily Kame Kngwarreye, including an explosion of pink brushstrokes painted two months before her death in 1996, priced at $88,000. "At that stage she was into the pure act of painting," Mora says. "It was her last exuberant gasp." At 60 Tanner St., Richmond; 61-39/429-1199; www.moragalleries.com.au.
Alcaston Gallery
More traditional works, with their direct representations of tribal mythology, dominate at Beverly Knight's gallery, a reflection of her 18 years of working with art advisors in Aboriginal communities. "Often the most prominent artists are elderly and they end up supporting as many as fifty family members," she explains. "I'm urging their advisors to take the pressure off them—get them to paint less, even if it drives the prices up." At 11 Brunswick St., Fitzroy Victoria; 61-39/418-6444; www.alcastongallery.com.au.
Niagara Galleries
Owner William Nuttall has 11 Aboriginal painters in his stable of 45 international contemporary artists. His July show presents new works by Fiona Foley, priced from $1,000 to $6,000. Budding star Rosella Namok also exhibits here. Nuttall insists that showing Aboriginal artists in a more conventional gallery context allows "viewers to concentrate on their pieces as art, something that is new and absolutely nonderivative." At 245 Punt Rd., Richmond; 61-39/429-3666; www.niagara-galleries.com.au.
Tribal Art
In the world of tribal art, the focus this summer will be the June 20 unveiling of Paris's Musée du Quai Branly, the huge new museum designed by Jean Nouvel for the French national collections of African, Oceanic, and pre-Columbian art. But before shuffling down to Paris, some 3,500 tribal art collectors, dealers, and museum curators will pay their annual visit to the Brussels Non-European Art Fair, better known by its acronym, BRUNEAF.
Running June 7 through 11, this is no fair in the usual sense; it's an open-door event featuring 50 dealers (25 from outside Belgium) within a short stride of the Place du Grand-Sablon, the quaint, café-lined square in the heart of the city. To accommodate all the exhibitors, galleries in the neighborhood rent portions of their space to dealers from out of town.
With presentations that vary from cluttered to minimalist, the range of work on display is staggering. Owing to Belgium's colonial history in Congo, there is a natural emphasis on central African masks and fetishes. But if last year's show is any guide, one can expect to encounter everything from Bactrian alabaster–handled weights and 4,000-year-old terra-cotta burial jars from the Indus Valley to Nariño gold earrings from Colombia and Inuit hunting visors made of wood, ivory, and seal whiskers.
Since 2003 two new concurrent fairs—the Brussels Ancient Art Fair and the Brussels Oriental Art Fair—have expanded the buying opportunities to antiquities and Asian art as well. There is some overlap between the three events, but they complement each other, meshing into a vibrant five-day marketplace. "This new synergy can only benefit everyone," says longtime Brussels dealer Pierre Loos. "Visitors tend to have specialist interests, but most are only too happy to explore other fields." 32-2/514-02-09; www.bruneaf.com.
Patrick & Ondine Mestdagh
The organizing chairman of BRUNEAF, Patrick Mestdagh, calls the event "an invitation to stroll through a magical quarter that reverberates with the sounds of tribal art—and is full of surprises." An eclectic dealer-collector who handles pieces from all over the world, he targets new buyers by pricing most of his material under $12,000. Last year he sold an early-20th-century Mangbetu tapa mat from Congo with an Art Deco–like pattern, and a two-foot-long South African hairpin made from rhinoceros horn. At 31 Rue des Minimes; 32-2/511-1027; www.patrickmestdagh.be.
Claes Gallery
At 35, Patric Didier Claes is a rising star in the Brussels trade, dealing in objects from central and western Africa. Last year he sold a Nigerian Chamba statuette to the Smithsonian in Washington, D.C., as well as a large Yombe maternity figure in the neighborhood of $150,000. Claes says both pieces had well-documented provenances, something that's increasingly important to collectors looking to avoid looting issues. At 32 Rue Ste.-Anne; 32-2/414-1929; www.didierclaes.com.
Bernard de Grunne
A major player in African, Oceanic, and Indonesian art, De Grunne says that the city offers tribal collectors "knowledge, competence, and very reasonable prices." Which is not to say inexpensive. Among his recent sales was a five-inch-high Tongan goddess in yellowish whale-tooth ivory from the 18th century and a grimacing early-19th-century female Songye figure with a "magical patina" of oozing black palm oil. Both cost $240,000-plus. At 2 Place du Petit Sablon; 32-2/502-3171.
Wayne Heathcote
Oceanic specialist Heathcote features work from the South Pacific. He has amassed a selection of New Zealand treasure boxes intricately carved in indigenous kauri wood that were used for, among other things, storing Maori head feathers ($9,000–$30,000). Visitors to his new space (he changed locations in April) will also find ritual masks and wooden figures from Papua New Guinea—where Heathcote spent 13 years and worked as a jungle policeman—ranging from $2,400 to $18,000. At 67 Rue Lebeau; 32-2/502-6528; www.heathcote-gallery.com.
Kevin Conru
The largest chunk of Conru's business is in African objects, but his airy upstairs gallery has everything from Hopi dance masks to life-size wooden figures from New Ireland. Conru's recent six-figure sales include a rare 19th-century wooden shield with starburst patterning from Astrolabe Bay in Papua New Guinea and a three-foot-high honey-colored female Tsonga figure that was used for initiation rites in South Africa in the 19th century. At 8A Rue Bodenbroek; 32-2/512-7635.
Ambre Congo
Affectionately dubbed Papa by fellow dealers, Ambre Congo owner Pierre Loos founded bruneaf two decades ago. This year the central African specialist is exhibiting two late-19th-century circular "crowns" from the Tetela tribe in Congo, with raffia and wooden frames supporting hundreds of red feathers. Loos likens them to "papal tiaras" and is asking $25,000 for a two-foot-tall example and $18,000 for a smaller one. At 13 Impasse St.-Jacques/16 Rue Ste.-Anne; 32-2/511-1662.
Contemporary Art
For one week every June, this charming Swiss town perched on the banks of the Rhine becomes the art market's epicenter. Top dealers, collectors, and curators converge here for the marathon of social networking and dealmaking that surrounds Art Basel, the world's most prestigious fair for international modern and contemporary art.
Rooms at the Trois Rois hotel are fully booked a year in advance, and tables are like gold at the bustling Kunsthalle restaurant, where collectors François Pinault, Gloria von Thurn und Taxis, and Michael and Judy Ovitz might be spotted dining in the garden near such star artists as Maurizio Cattelan and James Turrell and, of course, heavyweight dealers from around the globe.
The frenzy has been ratcheted up even more by a pair of smaller fairs, Liste and Volta, which focus on younger, edgier art. The presence of two world-class private museums—the Schaulager and the Beyeler Foundation—as well as special public art installations, lectures, and other programs only adds to this not-to-miss festival.
The Basel model has given rise to a number of similar events—New York's Armory Show in March, London's Frieze Art Fair in October, and Art Basel's own Miami Beach sister fair in December— but the 37-year-old Swiss show remains the paragon. "Even with all the newer fairs springing up in other cities, it's still the most important," says Geneva gallerist and collector Pierre Huber. "Basel is the universal meeting point for people interested in contemporary art. All the dealers bring their best works, because they know the best clients will be there."
Art Basel
The madness starts before the main fair even opens, as rival collectors scheme to beat their peers to the most desirable pieces. Some determined buyers have posed as gallery employees or workmen to gain early access while the booths were still being installed. This year the floodgates officially open June 13 at 11 a.m., when the VIP vernissage begins (the public isn't allowed entrance until the next day), and by mid-afternoon a few exhibitors will have sold out their stands completely. Six days later, when the show closes, many exhibitors will have rehung their booths several times, periodically bringing in new works to replace those that have sold.
Nearly 300 dealers take part in the fair, so seeing all of them requires planning and endurance. On the ground level one finds blue-chip galleries like L&M Arts of New York, Jan Krugier of New York and Geneva, and the multinational Gagosian, offering a mix of big-ticket new and secondary-market works—such as the reportedly $80 million Picasso that London dealer Helly Nahmad exhibited last year. Upstairs, the offerings tend to be younger and fresher. Blum & Poe of Los Angeles will bring a huge Takashi Murakami painting, priced at more than $500,000. As gallery co-owner Tim Blum explains, "Basel and Art Basel Miami Beach are the only fairs for which we really encourage the artists to create new works, because of the collectors and curators who come."
Blum & Poe is also collaborating with the Paula Cooper Gallery of New York on a massive mobile by Los Angeles artist Sam Durant (in the $150,000 to $200,000 range), installed in the Art Unlimited section, a hangarlike hall designated for pieces too big or boisterous for a fair booth. Zurich gallery Mai 36 is bringing an 8-by-27-foot canvas by Anke Doberauer and coproducing a 1,200-square-foot pavilion by Matt Mullican that Mai 36's Victor Gisler describes as "half shelter, half ruin, with walls made from bulletin boards." At Halls 1 and 2 of Messe Basel, Messeplatz; 41-58/200-2020; www.artbasel.com.
Liste—The Young Art Fair
Now in its 11th year, Liste proved the viability of the now widely copied satellite-fair concept. Held in the former Warteck Brewery building, a stone's throw from the Rhine, Liste confines itself to about 50 galleries, most of them less than five years old (and no gallery can participate more than four times). Exhibitors at this year's show—June 13 through 18—include Natalia Goldin of Stockholm, Daniel Hug of Los Angeles, and Daniel Reich of New York. Initially ignored by the heavy hitters who patronized Art Basel, Liste is now de rigueur for cutting-edge collectors—such as Donald and Mera Rubell of Miami and Susan and Michael Hort of New York—who comb the labyrinthine aisles for the next big thing. Nonetheless, for newer collectors with an appetite for risk, the chances of buying something significant here are much higher than at Art Basel. Another plus: Prices at Liste generally range from $1,000 to $5,000, rarely breaking $10,000. At the Warteck Brewery bldg., Burgweg 15; 41-61/693-0347; www.liste.ch.
Volta Show
Debuting last summer, Volta is where you find quality galleries too old to be in Liste yet not accepted into Art Basel. The inaugural day was a barn burner—many stands sold out as collectors like LVMH chairman Bernard Arnault and developer Jerry Speyer stormed through the show buying up works. It helped that Volta's organizers offered the power collectors VIP speedboat-shuttle service along the Rhine. As Roebling Hall gallery codirector Peter Ryan recalls, "Volta had a lot of buzz and people liked the size because it wasn't so daunting." Not to mention the fact that much of the work was in the low five-figure range, making it comparatively affordable by the standards of today's raging contemporary art market. This year's edition, running June 14 through 18, is moving to a bigger site near the French border in Basel's industrialized zone and is raising the number of exhibitors from 23 to 40—participating galleries include Enrique Guerrero of Mexico City, f a projects of London, and Roebling Hall, which is bringing new work by 2003 Whitney Biennial star Eve Sussman. At Ultra Brag, 55 Südquaistrasse; 49-302/790-7826; www.voltashow.com.
Antiques & Folk Art
While most of the great Impressionist and old master paintings are already locked up in museums, the race is still very much on for collectors of top-tier American antiques and folk art. Significant pieces continue to emerge from genteel homes, weather-worn barns, and long-dormant attics, and it is the thrill of potential discoveries that lures buyers from around the country to New Hampshire each August. Over the course of nine frenetic days, no fewer than six fairs and three days of auctions are packed into what is known as New Hampshire Antiques Week.
The action takes place in and around Manchester, a compact city with a convenient, jewel box–size airport served by several major airlines. (With the picturesque White Mountains and charmingly old-fashioned Lakes Region towns to the north, many collectors add side trips to their stays.) The quality ranges from flea market to first-rate, but everywhere the atmosphere is casual. Shorts and sandals—not suits and heels—are the norm here. Don't be fooled, though: Serious business gets done, as heavy hitters from across the antiques world can be seen buying and selling at any of the week's events. "What's most exciting about it is that there are so many very fine pieces all in one place," says Ronald Bourgeault, owner of Northeast Auctions. "Along with New York in January and Philadelphia in April, it's one of the three most important weeks of the year for Americana buyers."
Northeast Auctions
Kicking off New Hampshire Antiques Week is the high-profile Americana auction staged by Northeast. For three days the Portsmouth, New Hampshire, auction house sets up shop in the Manchester Radisson, where there are always some bidding fireworks. At last summer's record-setting $9.3 million sale, no fewer than 15 deep-pocketed bidders vied for a Cushing & White Goddess of Liberty weathervane that ultimately went for $424,000 to dealer Fred Giampietro of New Haven, Connecticut. Another premier folk dealer, David Wheatcroft of Westborough, Massachusetts, snapped up a circa 1910 John Scholl sculpture, The Wedding, for $193,000, along with a Sheraton painted step-back dressing table for $121,500. This summer's sale, being held August 4 to 6, is highlighted by the esteemed collection of folk art, painted furniture, and decorative arts assembled by Raymond and Susan Egan of Princeton, New Jersey. At Radisson Center, 700 Elm St., Manchester; 603-433-8400; www.northeastauctions.com.
New Hampshire Antiques Show
Now in its 49th year, this show is the spark that ignited New Hampshire Antiques Week and is the center around which all the other events revolve. Upscale and unpretentiously elegant, the buoyant three-day fair—August 10 to 12 this year—is organized by the New Hampshire Antiques Dealers Association (NHADA). All 65 exhibitors are members of the group, which is known for its selective admission policy. On the morning of opening day, a serpentine queue forms in the Radisson's corridor with early birds hoping to score choice pieces from dealers such as Barbara Pollack, who last year sold a circa-1826 Sheldon Peck portrait; Nathan Liverant & Son, furniture specialists from Colchester, Connecticut, who did not disappoint with a spectacular Chippendale cherry slant-front desk of home-state origin; and Wayne Pratt of Woodbury, Connecticut, who parted with a bespoke 18th-century block-front chest of drawers for a six-figure price. At Radisson Center, 700 Elm St., Manchester; 603-585-9199; www.nhada.org.
Midweek in Manchester Antiques Show
This is where Americana aficionados connect with some of the best dealers in the field who are not members of the NHADA, as well as with members not in the NHADA show. One of the exhibitors at Midweek, August 9 and 10, is Woodbury, Connecticut, dealer David Schorsch, whose booth last year featured a painted wood mascot figure of a giraffe found at a Maine lumber camp, which he sold for around $40,000. David Wheatcroft always showcases numerous folk art gems, such as the circa 1810–20 Pennsylvania painted blanket chest with exaggerated French feet—"one of only two known," the dealer says—which he sold last year for a price in "the tens of thousands." At Quality Inn & Wayfarer Conference Center, 121 S. River Rd., Bedford; 845-876-0616; www.barnstar.com.
The Best of the Rest
Each of the week's other satellite shows has its own flavor. The Start of Manchester (August 8 and 9) is strong in country antiques, while Riverside (August 8 through 10) boasts a geographically diverse roster of dealers who source antiques from all corners. But some Antiques Week devotees say the one-day Bedford Pickers' Market (August 11) is where the best discoveries can be made. Take the Virginia collector who last year reportedly paid a couple hundred dollars for a circa-1820s needlework sampler stitched by a child at an Indian mission school, only to receive an offer of $20,000 for it on the spot—and much more since then. The Start of Manchester Antiques Show: Event Center at C. R. Sparks, 18 Kilton Rd., Bedford; 631-261-4590; www.flamingoshows.com. Riverside Antiques Show: Best Western, 13500 S. Willow St., Manchester; 207-767-3967; www.forbesandturner.com. Bedford Pickers' Market: Quality Inn & Wayfarer Conference Center, 121 S. River Rd., Bedford; 845-876-0616; www.barnstar.com.
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As we embarked on our new design, Antonym, we did not intend to create a type that could be easily grasped or placed, but rather something more elusive. It is an eclectic hybrid that defies easy classification. Partly a serif with asymmetrical wide thin slabs, partly a modulated sans, one of its defining features is missing serifs where one expects them: on curved letters, letters with horizontal strokes, and letters with a curved stroke. Others peculiarities include an a with an overhanging top stroke, a single-story g with a serif on top, narrowed M and a flattened diagonal stroke of the S with apertures so small it approaches an 8.
These highly idiosyncratic details coexist with predictable sturdiness of a 19th-century-inspired slab serif, including wide proportions and low contrast, high x-height and short descenders. The unlikely alloy of styles feels fitting for the melting pot that is contemporary culture and is well-appointed for those cutting-edge projects where distinction is required. Antonym’s predisposition to thoughtful bespoke use does not preclude a more pedestrian application. It is unexpectedly attractive when used for text, as well as display setting, and can be economical when used for closely-leaded text at minuscule point sizes without appearing dense. We made a point of limiting the family to two weights, light and regular with their italics.
Designed by Gayaneh Bagdasaryan and Vyacheslav Kirilenko, 2019-2022
You can free download the trial version of font. It is allowed to use the files exclusively for trial purposes in order to make a decision about purchasing. Download trial version.
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A massive light mural brings a B.C. development to life
The Amazing Brentwood is being billed as one of the largest master-planned mixed-use developments in the province.
unleash-amazing
A dazzling light mural and installation art is being used to bring attention to a large mixed-use real estate development in Burnaby, BC.
The Amazing Brentwood, by Vancouver builder Shape Properties, is a 28-acre site that is one of the largest, master-planned mixed-use developments in the province, which will feature shops, restaurants, public plazas, entertainment and more than 6,000 new homes and 11 residential towers.
To drive interest in the project, multiple agencies contributed to “Unleash Amazing,” a fully-integrated campaign whose phased opening is happening right now.
aura-installation-2Part of the campaign includes “Aura,” described as the largest natural light mural in Western Canada, spanning over 14,600 square feet and encompassing six different art installations.
“Aura” was conceived by BC-born and now L.A.-based Canadian contemporary geometric landscape artist and illustrator Elyse Dodge, whose work has been shown in galleries in Toronto and Los Angeles and whose credits include mural design for Ronald McDonald House and window art installations for Lululemon.
In addition, $1 dollar from every social share of the campaign is going towards the Coast Mental Health Foundation, a Vancouver non-profit that assists people with mental challenges, thrive in communities.
The Aura activation for”Unleash Amazing” will be in-market until Sept. 19 and includes an earned- first approach, supported by full influencer integration to represent the vibrancy of the activation.
The campaign is further amplified by digital content production and media buying.
PR agency Milk Creative Communications says The Amazing Brentwood is an example of how retailers and businesses can work to inspire and lift up communities with activations, especially as lockdowns ease and in-person retail begins to show signs of life again.
Client: The Amazing Brentwood, SHAPE Properties
Lead Agency, Campaign Strategy, Creative Direction, Design: Partner & Hawes
Artist Management, Production: Park Production House
PR & Influencer, CSR: Milk Creative Communications
Media: Jungle Media
jasacuan Hoki slot 4d Slot Gacor slot hoki
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other projects »
family house Černolice
Černolice, Czech Republic; 2017-2018
architectural study
authors: Jan Foretník and Jakub Stýblo
The design of a family house is situated on the edge of the current built-up area of Černolice on the sloped plot with a beautiful, though limited view. The shape of the cross is a response to the assignment of a large building program and, at the same time, to the investor's requirement to minimize connections. The resulting shape of the object is then optically horizontally divided into smaller units to reduce the scale of the building. Regarding the surrounding area and the urban regulations, a saddle roof is proposed on the larger mass.
longitudinal section
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Kakariko Village has been a key location in multiple Zelda games since its first appearance in A Link To The Past. The 1992 classic introduced a peaceful and cozy musical theme to go with the location. This theme later returned in Ocarina of Time, as well as live events like Symphony of Goddesses.
Kakariko Village was drastically redesigned for Breath of the Wild, a game that overhauled and changed many aspects of the franchise. The new village had a clear Japanese design and influence, which changed many players’ perspectives of the classic village. With the change in Kakariko’s design came changes in its musical theme, meant to incorporate more traditional Japanese instrumentation.
This woodwind cover by Joe DiFiore captures the more eastern flavor and peaceful tone of the new theme. The four woodwinds work together to recreate the theme, with the flute providing the main melody. It’s a refreshing take on a beautiful Zelda song. The all-woodwind ensemble provides this arrangement with its own distinct sound.
What do you think of this woodwind cover? Let us know in the comments below!
Tagged With: No tags were found for this entry.
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Yearbook Cover: How to Replicate a Design You Like in 3 Easy Steps
replicate-inspiring-yearbook-cover-banner
So, you’re supposed to design your yearbook cover and have a blank page in front of you. You’ve been staring at that computer screen all day, but you can’t figure out what to do or where to start.
Sometimes, starting is the hardest part. Personally, as a designer, I find that it helps if you start by looking for inspiration. It can help you visualize what you like and what you don’t like.
At my very first job. I would just start working right away without looking for inspiration or doing any research. I found it to be very difficult, because I was limiting my designs to what I knew and was familiar with. I slowly realized that looking for inspiration was the key to give me a fresh perspective and new ideas to work with.
In this article, I’ll try to bring you directly to this stage. I thought starting with the cover would be great (we can’t do everything at once!). You’ll learn how to look for inspiration first, then how to replicate or interpret a cover design you like from scratch.
Seen something interesting or inspiring online or around you? Want to get inspired and recreate something similar? Then let’s get started.
01. Find the right inspiration
Keep in mind that the goal is not to literally copy something but more to be inspired by it. This being said, as inspiration is everywhere, you can be inspired by almost everything. Luckily, you have the Internet at your fingertips and it gives you access to so much great stuff! You can google anything from “yearbook design inspiration” to “page layout inspiration” and it will link you to thousands of nice resources.
Some of my favorite websites to look for inspiration are:
Behance, an online community for creative designers
Most of the designers and creative people I know have Behance accounts. Behance is an online community for creatives and their portfolios. It allows them to showcase their work and connect with other artists, designers and even employers. It enables them to talk about their creation process in depth and even show their drafts before coming up with the final design. Apart from that, it is also a very helpful source of inspiration. Simply visit their site and use the search bar to find what you are looking for. I typed yearbook and a lot of really nice inspirational work came out of the search.
Replicate inspiring yearbook cover - behance
Dribbble, show and tell for designers
Another great source of inspiration is Dribbble. Like Behance, it’s an online community that caters to creative types. While Behance enables you to show the whole creation process, Dribbble takes in a more show and tell approach where you can showcase a fragment of your work and not really the entire process. Both are very good resources that I use a lot, and am constantly inspired by. For the image below, I typed yearbook on the search bar and here are some of the results.
Replicate inspiring yearbook cover - dribbble
Pinterest, the world’s catalogue of ideas
My personal favorite however is Pinterest. It’s a website that lets you “pin” anything that is of interest to you. Unlike the two previous websites, Pinterest caters to everyone and not just creative professionals. You can find anything from crafts, DIY projects and recipes. It is a huge hit with moms but I use it a lot to search for graphic design inspiration. Another nice thing about Pinterest is you can create your own boards. They are like folders that help you organize your pins.
You can check out Fusion’s Pinterest account and browse through our boards for some inspiration or you can also create your own account. Use search keywords like “yearbooks”, “magazines” or “publication design” and have a look at the various inspirational work that comes up.
Replicate inspiring yearbook cover - pinterest
Your favorite bookshop or library – a place where inspiration is palpable
Inspiration is everywhere, so of course it is not limited to online searches. You don’t need to have an Internet connection to find inspiration. You can just go to your favorite bookshop or library and find inspiration there. I actually do this a lot while killing time at the mall. I go to the bookshop and browse through various art and design books, it’s actually a very enjoyable thing to do for me. I hope you can try it and enjoy it as much as I do.
So let’s say you’ve had a productive search and that you found THE cover that really inspires you. Now it’s time to understand its design and how you could get inspired by it.
02. Understand how your model has been made
Let’s take an example to help you understand the power you have with Fusion. Here is a clean and minimalist cover I found on Behance.
Let’s take a closer look at the cover.
A cover is usually made up of various elements like images, shapes, borders and text.
Replicate inspiring yearbook cover - cover-example
A – Title
I liked how the title is placed inside a white rectangle, I think it gives it more emphasis.
B. Main Image
There are different kinds of covers and you can choose to have an image on yours or not. But in our inspiration cover’s case, it uses a grayscale photo that goes well with all the other elements on the page.
C. Text / Subtitles
Our cover needs text of course, and I liked how they used a nice clean font.
D. Border
I think the border is a nice touch. I like it’s simplicity and it does not distract us from the image. You can also use this element on the inside pages of your book to create a unified look across the pages.
E. Coloured rectangle
The coloured rectangle below is an element like the border which you can also use on the inside pages of your book to create a unified look.
Ok. So now, what can we do with that?
03. Interpret and create your own yearbook cover
This should be easy now! It’s time to open Fusion and start creating your own cover from scratch! You may have noticed that Fusion offers hundreds of free and customizable templates. You can use them if you want, or you can simply create something from scratch.
Step 1: Create a cover page and open it.
When your mouse hovers on the Cover icon, a round pencil button will appear, click on it.
Replicate inspiring yearbook cover - create-cover
You will start off with a blank page, like this.
Replicate inspiring yearbook cover - blank-cover-page
Step 2: Re-build your cover starting from your model
> Use a photo as a background
Remember? Our model used a photo as the background for the front cover. To replicate this, simply go to elements, then grids, drag & drop the very first one on your page. The grid will hold your image in place.
Replicate inspiring yearbook cover - add-grid-cover-page
Upload an image of your choice and drag it onto your grid. You can also use one of the thousands of images in our library, like what I did here.
Replicate inspiring yearbook cover - drag-photo-cover-page
I really liked how the main image is in grayscale, so I am applying that effect on my cover. To apply a photo filter, simply click on the photo. A filter button will appear (encircled below), click on that and filter options will appear. Choose grayscale for the desired effect.
Replicate inspiring yearbook cover - filter-photo-cover-page
> Add clipart or elements on your page
On our model, we also had a white border and a colored rectangle. Good to know: Fusion’s library has thousands of free elements. I am sure you’ll be able to find what you need! Here, I added the rectangular shape below and changed the color to what I wanted.
Replicate inspiring yearbook cover - shapes-cover-page
I really liked the white border on the inspiration page, so I decided to apply it on my cover as well. I simply searched the library for a border and found something I liked. I dragged it onto the page, resized it and changed it to my preferred color. I initially wanted to add the white box on top that was used for the title, like the inspiration, but it didn’t really work so I opted to just remove it and keep it simple.
Replicate inspiring yearbook cover - border-cover-page
> Add your title, subtitles and texts
Now you can add your text. Here, I opted to add the title below, and to use a clean font like on our inspiration model. To add text, simply click on the Text tab. You can either use a pre-designed text holder or type your own text and customize the font and size to what you want. Here I used a nice clean font like Montserrat.
Replicate inspiring yearbook cover - add-text-cover
> Finally, create your back cover
The front cover is done. Now, it’s time to design the back cover. Here, I opted to use a dark solid color because I think it goes well with the grayscale image. Simply add the school’s contact information and you are good to go!
Replicate inspiring yearbook cover - add-back-cover
Here is our inspiration and finished cover. Our book shares some similarities with our inspiration but is not a complete copy. Looking for inspiration and pegs is a very helpful thing but be sure to create something that is your own interpretation and adjust it to your own needs.
Replicate inspiring yearbook cover - comparison
I hope you learned something new today! Feel free to apply it to all your future covers and creative projects. Here are some reminders before you go:
> Before starting your project, it is best to do some research and to find inspiration from websites like Behance, Dribbble and Pinterest.
> You can also visit bookshops and libraries for inspiration. All of this will give you fresh ideas you can use your own way.
> Understand how your models are made.
> Try to replicate the techniques used on your model but make it yours by playing with all the options available in Fusion.
As a final suggestion, I would encourage you to be inspired but also to be careful not to copy something completely. Because copies are rarely as good as original works!
Do not hesitate to leave a comment below if you have any questions – or share your work to inspire us all!
Start Creating Your Yearbook Today.
Start Here Free
The following two tabs change content below.
Thea is part of the design team at Fusion. If you use our online yearbook builder, you probably used a few of her designs already. Screen printed gig posters and letterpress stationery are her favourite art forms. Like most people, she enjoys naps and watching animal videos online.
Australia's #1 Yearbook Company
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October 16 – 31)
Los Angeles River Revitalization Master Plan / Mia Lehrer Associates
Los Angeles River Revitalization Master Plan / Mia Lehrer Associates
Good News, Brooklyn Skaters: Fat Kid Spot Is Coming Back – 10/21/16, The New York Times
“To the uninitiated, Golconda Park looks like a bit of a mess: a collection of crooked Escher-like steps, some misplaced highway berms, a loading dock and a drained, scuffed swimming pool, all amid gravel and scattered construction equipment.”
10 Streets That Define America 10/25/16, Curbed
“What can we learn about our ever-changing country from individual streets? To get to the heart of that question, Curbed took a deep dive into ten cities around the United States—selected for their diverse sizes, ages, populations, and locations—and talked to the people that call each place home.”
What Could Hermann Park Look Like in 20 Years? Hilly – 10/27/16, The Houston Chronicle
“Imagine what Hermann Park could be like if the sea of parking in its center was instead a place where children could scamper up a knoll to a ‘creature forest’ and a ‘swing marsh.’”
Ugly Sites Can Help Beautify Landscape – 10/27/16, Shanghai Daily
“Shanghai has set up a team of experts, backed by government departments, to speed up converting contaminated land or demolished industrial sites into green areas.”
Q&A: Mia Lehrer – 10/28/16, Metropolis Magazine
“For more than two decades, Lehrer has also advocated for the transformation of L.A.’s junk river—paved over with concrete by the U.S. Army Corps of Engineers in the 1930s to fight flash floods—and had a hand in creating the 2007 Los Angeles River Revitalization Master Plan, before the city handed off the project to Gehry + Partners last fall.”The Road to Recovery May Be Green
The Green Road / Jared Green
The Green Road / Jared Green
Can spending time in nature help heal veterans with post-traumatic stress disorder (PTSD) and traumatic brain injury? As suicides from PTSD sufferers only increase, the Institute for Integrative Health (TIIH) seeks out answers to this important question through their new Green Road project, which just opened at the Naval Support Activity Bethesda, home of Walter Reed Military Medical Center, in Maryland.
In the middle of the vast medical and university campus, the Green Road takes patients, nurses, and staff down a zig-zaging path to a healing woodland garden, a beautiful 2-acre valley, which used to be a golf course, but now feels wild. The restored forest and stream are at the heart of the experience.
Restored stream / Jared Green
Restored stream / Jared Green
Restored stream / Jared Green
Restored stream bank / Jared Green
And these restored places are the source of the vista seen from two new, open-air cedar and steel pavilions.
Pavilion / Jared Green
Pavilion / Jared Green
Pavilion / Jared Green
Pavilion / Jared Green
The landscape was designed and built by a team led by CDM Smith, including landscape architect Jack Sullivan, FASLA, and his students at the University of Maryland.
The idea for the project came from retired U.S. Navy neurologist Frederick Foote, M.D., now a scholar at TIIH. His vision was to bring back an ancient idea: using nature to heal. As Foote explained, four different teams of scientists — from the Arizona Center for Integrative Medicine, University of Tucson; Benson-Henry Institute of the Massachusetts General Hospital; Consortium for Health and Military Performance, Uniformed Services University of the Health Sciences; and National Institute of Health Clinical Center, Pain, and Palliative Care Services — will undertake in-depth studies in the Green Road to “isolate where nature has the most effect.” Some $1.1 million in research will be conducted, all made by possible by the smart and impactful TKF Foundation, which provided some $1.1 million towards the $3.2 million project.
Walking down the path, one of the first things visitors notice are the massive logs strewn through the garden. At first, I thought their intention was ecological: to regenerate the soil and create habitat for small creatures. But, as Foote explained, the dead trees are also symbols of fallen soldiers. Often, soldiers experience PTSD because they have lost a close friend in battle. The logs are opportunities for those suffering with PTSD to remember those they’ve lost in a more gentle, natural way and connect death with the positive cycle of regeneration.
Fallen trees / Jared Green
Fallen trees / Jared Green
Fallen trees / Jared Green
Fallen trees / Jared Green
Throughout, the garden brings in elements that veterans, both with PTSD and without, identified were important to them. As Sullivan explained at the opening ceremony, design charrettes were conducted with 30 veterans to figure out how the natural beauty of the stream and forest could be enhanced to create a healing effect. “They wanted both a solitary place where they could get away and find solace nature, and a special place to meet others to commemorate those who had fallen, a place to get together with family and comrades.”
Stone Council Circle / Jared Green
Stone Council Circle / Jared Green
The landscape restoration was extensive. Invasive plants were removed and 58 new trees were planted, including river birch, pin oaks, and magnolias. Summersweet shrubs, which will bloom in summer, were planted in abundance. Still, the restored stream, done by Angler Environmental, is perhaps the major attraction. One bank was stabilized, trees were cut back, and the other eroding bank will be restored next.
Foote explained that “the Green Road features stone, water, trees, and animals. Through design, they are paired in new ways. We believe these paired natural systems can help heal PTSD.”
Stone fountain / Jared Green
Stone fountain / Jared Green
Foote looks to nature for solutions, perhaps because he has spent decades witnessing the failings of modern medicine to solve PTSD in wounded warriors. “We have been trying to heal people one organ at a time with pills and surgery.” But the problem is that PTSD “doesn’t respond to those treatments, so we need to try holistic approaches.”
That move towards holistic medicine — which the Greeks of ancient times and the Chinese of today still practice — has been a slog. “Our cultural obsession with technology means we underestimate holistic therapy.” Mainstream medical practitioners undervalue it, because, to date, it has been impossible to measure “whole body effects, mathematically.” They can only measure with confidence that this treatment or that pill yields results on this or that organ.
Foote sees the future in creating proof of the benefits of holistic approaches: a set of “whole body metrics” that could be used to test and measure the effect of these treatments for PTSD and other disorders. Foote wants to apply many technologies and approaches to forge these new metrics: genomics, which would look at which genes are turned on during PTSD and what can turn then off; artificial intelligence-based textual analysis of patients’ writings to categorize and diagnose their disorders; integrated biometrics of stress to measure physiological effects of suffering and also treatments; and big data analyses to find more accurate sub-groups for evaluation. Foote hopes the Green Road can help test these nascent “whole body metrics,” at least for the metrics and potential treatments related to exposure to nature. “I hope this becomes the national laboratory for studying how humans interact with nature.”
Trees and people / Jared Green
Humans and nature / Jared Green
His plan is that a group of 50 veterans, some suffering from PTSD and some not, will be studied in the Green Road. Their physiological response to the place will be measured in detail. “We could ask a group to spend an hour in the Green Road on a scavenger hunt, and then the next day, they could do the same on the streets and we could measure the differences in their responses.”
While the Green Road is a major success, the only criticism is that it’s hidden behind buildings and parking lots, and there is no signage to explain how to get there. It’s a good 15 minute walk from the medical facilities. For patients, it’s a destination, not a place to simply wander into. Walter Reed will need to further promote to ensure it’s well-used by the people who need it. Asked whether Walter Reed will actually prescribe patient time there or conduct horiticultural therapy sessions there, Foote seemed a bit pessimistic, pointing to limited budgets. “We need $2 million, $5 million to do everything.” But he does see the Green Road hosting events and therapeutic exercises.
His grand vision for sometime in the near future is beautiful: sufferers of PTSD will wear a device like a Fitbit that would measure whole body responses and would let them know when they are getting stressed and alert them to go spend time in a park. A fascinating mix of ancient wisdom and new technologies.
ASLA Announces 2016 Professional Awards
ASLA 2016 Professional General Design Award of Excellence. Underpass Park /
ASLA 2016 Professional General Design Award of Excellence. Underpass Park by PFS Studio / Tom Arban
The American Society of Landscape Architects (ASLA) is excited to announce its 30 professional award recipients for 2016. Selected from 456 entries, the awards honor top public, commercial, residential, institutional, planning, communications and research projects in the U.S. and around the world. The winners will receive their awards at the ASLA Annual Meeting and EXPO in New Orleans on Monday, October 24 at the New Orleans Ernest M. Morial Convention Center.
The September issue of Landscape Architecture Magazine (LAM) features the winning projects and is available for free viewing.
The following is a complete list of 2016 professional award winners:
General Design Category
Award of Excellence (see image above)
Underpass Park, Toronto, Ontario
by PFS Studio for Waterfront Toronto
Honor Awards
Framing Terrain and Water: Quzhou Luming Park, Quzhou City, Zhejiang Province, China
by Turenscape for the Quzhou City Government
Bishan-Ang Mo Kio Park, Bishan, Singapore
by Ramboll Studio Dreiseitl for the Public Utilities Board / National Parks Board, Singapore
Converging Ecologies as a Gateway to Acadiana, St. Landry Parish, Louisiana
by CARBO Landscape Architecture for St. Landry Parish Tourist Commission
The Metro-Forest Project, Bangkok, Thailand
by Landscape Architects of Bangkok (LAB) for PTT Public Company Limited
The Power Station, Dallas
by Hocker Design Group for The Pinnell Foundation
Corktown Common: Flood Protection and a Neighbourhood Park, Toronto, Ontario
by Michael Van Valkenburgh Associates Inc. for Waterfront Toronto in Partnership with Toronto Region Conservancy Authority (TRCA) and Infrastructure Ontario (IO)
Grand Teton National Park Craig Thomas Discovery and Visitor Center, Moose, Wyoming
by Swift Company LLC for the National Park Service, Grand Teton National Park Foundation and Grand Teton Association
Eco-Corridor Resurrects Former Brownfield, Ningbo, China
by SWA for Ningbo Planning Bureau – East New Town Development Committee
Analysis and Planning Category
ASLA 2016 Professional Analysis and Planning Honor Award. The Copenhagen Cloudburst Formula: A Strategic Process for Planning and Designing Blue-Green Interventions. Ramboll and Ramboll Studio Dreiseitl / Ramboll and Ramboll Studio Dreiseitl
ASLA 2016 Professional Analysis and Planning Honor Award. The Copenhagen Cloudburst Formula: A Strategic Process for Planning and Designing Blue-Green Interventions. Ramboll and Ramboll Studio Dreiseitl / Ramboll and Ramboll Studio Dreiseitl
Award of Excellence
The Copenhagen Cloudburst Formula: A Strategic Process for Planning and Designing Blue-Green Interventions, Copenhagen, Denmark
by Ramboll and Ramboll Studio Dreiseitl for the Municipality of Copenhagen
Honor Awards
Central Puget Sound Regional Open Space Strategy, Puget Sound Region, Washington
by University of Washington Green Futures Lab for The Bullitt Foundation and The Russell Family Foundation
Rebuild by Design, The Big U, Manhattan, New York
by Starr Whitehouse Landscape Architects and Planners for the United States Department of Housing and Urban Development, Rebuild by Design
Memorial Park Master Plan 2015, Houston
by Nelson Byrd Woltz for the Houston Parks and Recreation Department, The Memorial Park Conservancy, and Uptown Houston
Baton Rouge Lakes: Restoring a Louisiana Landmark from Ecological Collapse to Cultural Sanctuary, Baton Rouge, Louisiana
by SWA Group for the Baton Rouge Area Foundation
Bayou Greenways: Realizing the Vision, Houston
by SWA Group for the Houston Parks Board
Communications Category
ASLA 2016 Professional Communications Award of Excellence. What's Out There Guides / The Cultural Landscape Foundation
ASLA 2016 Professional Communications Award of Excellence. What’s Out There Guides / The Cultural Landscape Foundation
Award of Excellence
What’s Out There Guidebooks
by The Cultural Landscape Foundation
Honor Awards
Roving Rangers: Bringing the Parks to the People
by BASE Landscape Architecture, for the Golden Gate National Parks Conservancy, Santa Monica Mountains National Recreation Area and the Santa Monica Mountains Fund
Activating Land Stewardship and Participation in Detroit: A Field Guide to Working with Lots
by Detroit Future City, published by Inland Press
Landscape Architecture Documentation Standards: Principles, Guidelines and Best Practices
by Design Workshop, published by John Wiley & Sons
PHYTO: Principles and Resources for Site Remediation and Landscape Design
by Kate Kennen, ASLA, and Niall Kirkwood, FASLA, published by Routledge, Taylor and Francis Group
DredgeFest Event Series
by The Dredge Research Collaborative
Sea Change: Boston
by Sasaki Associates Inc.
Research Category
Honor Awards
Weather-Smithing: Assessing the Role of Vegetation, Soil and Adaptive Management in Urban Green Infrastructure Performance
by Andropogon Associates Ltd. for the University of Pennsylvania
Residential Design Category
ASLA 2016 Landmark Award. Michigan Avenue /
ASLA 2016 Professional Residential Design Honor Award. DBX Ranch by Design Workshop / D.A. Horchner / Design Workshop, Inc
Award of Excellence
DBX Ranch: A Transformation Brings Forth a New Livable Landscape, Pitkin County, Colorado
by Design Workshop Inc.
Honor Awards
Kronish House, Beverly Hills, California
by Marmol Radziner
The Restoring of a Montane Landscape, Rocky Mountains, Colorado
by Design Workshop Inc.
Chilmark: Embracing a Glacial Moraine, Martha’s Vineyard, Massachusetts
by Stephen Stimson Associates Landscape Architects
The Rivermark, Sacramento, California
by Fletcher Studio for Bridge Housing Corporation
Water Calculation and Poetic Interpretation, Carmel, California
by Arterra Landscape Architects
ASLA 2016 Landmark Award. Michigan Avenue Streetscape /
ASLA 2016 Landmark Award. Michigan Avenue Streetscape by Hoerr Schaudt Landscape Architects for the City of Chicago / Steven Gierke
The Landmark Award
Michigan Avenue Streetscape: 20 Years of Magnificent Mile Blooms, Chicago
by Hoerr Schaudt Landscape Architects for the City of Chicago/Michigan Avenue Streetscape Association
The professional awards jury included:
• Kona Gray, ASLA, Chair, EDSA, Fort Lauderdale, Florida
• Keith Bowers, FASLA, Biohabitats Inc. Baltimore
• Jennifer Guthrie, FASLA, Gustafson Guthrie Nichol, Seattle
• Mami Hara, ASLA, Philadelphia Water Department, Philadelphia
• Christopher Hume, Architecture Critic, Toronto Star, Toronto, Ontario
• Lee-Anne Milburn, FASLA, California State Polytechnic University, Pomona, California
• Willett Moss, ASLA, CMG Landscape Architecture, San Francisco
• Suman Sorg, FAIA, DLR Group | Sorg, Washington, D.C.
• Laurinda Spear, ASLA, ArquitectonicaGEO, Miami
Interview with Toody Maher on Co-Designing Parks with the Community
Toody Maher / SF Gate
Toody Maher / SF Gate
Toody Maher is the founder and executive director of Pogo Park. She is an artist, inventor, and entrepreneur and lives in the San Francisco Bay Area, California.
In the Iron Triangle in Richmond, California, which is one of the poorest and most violent neighborhoods in the country, you’ve created an exciting model, which combines community development, child development, play, and parks. What are the essential elements of a Pogo Park?
Any public space can be transformed into a Pogo Park. In essence, a Pogo Park is an amazing place, a magical place for children to play. There are five key elements. First of all, a Pogo Park must be staffed. You need someone there who clean the park, welcome folks as they come in, and make it a safe and welcoming gathering place for the community. Second, there needs to be an office there. The third is a rich play environment. We have to get away from plastic, static play equipment. Experts on play talk about how kids need loose parts and environments they can manipulate, so they can build their own things and explore. The key feature of a Pogo Park is a super-rich play environment. The fourth element is just basic amenities — a place to sit in the shade, a bathroom, and running water. And the last is to make it a hub of the community. We have the book mobile, farmer’s market, and visits from the National Park Service who want to show the kids a ranger tour. We’re just the place. We are the community hub.
If you’re knowledgeable about Christopher Alexander’s book, A Pattern Language, that’s the Bible for us. There’s certain things that you can do that are essential, but you can do it 500 or 5,000 ways.
The community were co-designers of Elm Playlot and Harbor-8 Park. How did this work?
To give you some background: Elm Playlot was an existing park for 70 years, but it failed. The city has renovated it three times, and the latest in 2009 cost $300,000. We begged the city not to do it, but they went ahead because they had a grant. Within a week, somebody tried to burn it down.
Pogo Park started with a core team of eight: the Elm Playlot Action Committee (EPAC). The first person I met was Carmen Lee, who lives right next door to the park. I just went around knocking on doors and meeting folks. There were people who wouldn’t open the door. I would show up each day and they wouldn’t even say hello. From 2009 to 2016 the composition of EPAC has changed. It went from eight to six to ten to twelve to fourteen to seven. All of the members have deep ties to the Iron Triangle: they were born there, they live there. But the members of the same core team who started at the beginning have been through all seven years of the project.
What’s great is the power of incremental change. We avoided the usual process: the park fails, then you helicopter in, and, in one week’s time, there’s a new park, and then the mayor comes, and you cut the ribbon, and the moment that everyone leaves — the moment the 76-piece marching back leaves — the whole thing goes back to what it was, so nothing is really transformed. As some residents say, you can’t put a mink coat on a skunk. By coming in and putting this thing down, it doesn’t mean lives are going to change. Transformation needs to be deeper.
EPAC started working with the residents to reclaim the park. Before we got our $2 million state park grant to redo the park, I told the team about Burning Man in the Nevada desert, how folks build this mini city in a week. I said: “let’s do Burning Man in the Iron Triangle!” We went to Home Depot and bought a $2,000 3-foot fence and built a fence around Elm Playlot to claim the boundary. We came in each day and cleaned the park, so it was super clean. We brought in a shipping container we got from the Port of Richmond and built a little office inside the shipping container we could open each day. We put out our play materials and made our enriched play space. We rented a porta potty, which we covered in beautiful plants and artwork. And if somebody needed to go to the bathroom, they’d come up to somebody on our staff and we would let them in. Folks would come just to go to the bathroom, because the porta potty was tricked out. We bought the house next to the park for $50,000. And got a $300 fridge off Craigslist and became an official distribution point for the school free summer lunches. We served 9,000 meals one summer. We got into the space and claimed it.
Going back to how to involve the community: Elm Playlot came alive because people from the neighborhood went and worked there each day. They cleaned it, built things, or served as staff. As folks drive by, they could see something was changing. Everybody started to come by because they were like, “What you all doing next? Oh, this so great.” One thing I learned: If the community makes the changes themselves, then the change is deeper and felt more widely.
Elm Playlot / KQED, Nancy DeVille
Elm Playlot / KQED, Nancy DeVille
It wasn’t just like there was a one-week charrette. We did a five year one! As the great park designer, Susan Goltsman, FASLA, with MIG in Berkeley, said: “Great playgrounds are in a constant state of change.” They can’t just be static. To be alive, parks need to evolve. Pogo Park has been a living charrette.
Elm Playlot / Pogo Park
Elm Playlot / Pogo Park
How did the process of 3-D prototyping the park design work? And why do you think it was better than the typical approach with charrettes, maps, renderings?
The real language needed to communicate design is the opposite of what you need to understand a landscape architecture plan on paper. With a 3-D model, you get to see what’s coming in life size. You’re actually experiencing it. If we want to put a tree somewhere, we’ll just go out and buy a tree in a five gallon bucket and put it there, so people can actually say, “Oh, a tree’s there.” They can walk around and see spaces.
I’ve noticed that when I’m dealing with some landscape architects and designers, they come out with the dimensions of what something should be right away. They’ll say, “Oh, well, why don’t we put the door at three feet and this at two feet.” And they work all by numbers. But our approach is: “Do not impose a number.” First of all, mark it, and when it feels right, measure. That is the measurement that goes on the paper. So many times when design is done on paper, it looks good on paper, because it’s all math. But when you build it, there’s so many little things that were off. The spacing is usually off. The only way you can really get spacing is to do it.
Pogo Park involved the community in the actual construction of the park, paying neighbors of the park to build it. How did the process of co-developing the park with the community work?
We have put over $1 million in wages and contracts into the Iron Triangle. Everyone expects people who are poor and have no job to come in and volunteer. Everywhere I went, people said: “Oh, Toody, you and your volunteers.” No. Everyone was paid for their contribution.
We were also blessed to partner with Scientific Art Studio, which happens to have a 2-acre fabrication studio six blocks from our park in the Iron Triangle, to build the park. The guy who runs it — Ron Holthuysen — is a world famous designer of children’s play spaces. He’s the bomb. He just did a $3.5 million new playground for the San Francisco Zoo. His belief is that children must be free to run wild and to explore.
Ron helped us figure out how to work with a playground safety inspector. We were building custom-made, artisanal play elements. Every step of the way we made sure we conformed with the safety regulations. He set up a studio for us in his studio where he acted as our training wheels, empowering local people to do it for themselves.
It was this holy trinity. First, we had community residents. Second, we had the city of Richmond, which is very entrepreneurial and forward thinking. They gave us the green light to do this radical thing: to try and build a park with the community by hand. And, third, we had Ron from Scientific Arts. However, the residents were the most powerful force. All we did was create a system where someone could think up an idea and then just do it. Residents started getting into it, saying things like: “Well, we should put a bench there.” So then we would just go to Ron’s shop and build a bench and bring it back. Residents started gaining a lot of confidence by thinking, doing.
Play element construction / Pogo Park
Play element construction / Pogo Park
The numbers who have been employed with Pogo Park over the past decade is around 110-120 community residents. We’ve had probably another 250 who come and work for two weeks. But we primarily pour our money into our core staff. We have 10 people on the community resident team now that work between 15 hours a week and full-time. And they’re paid between $16 and $22 an hour. Those working full-time have full health, dental, and vision benefits. All of these people have never had insurance before. Pogo Park has definitely helped transform the lives of the key folks on our team. And we now have $1.5 million in contracts to design and build more parks in Richmond, too.
Park construction / Pogo Park
Park construction / Pogo Park
About 25 percent of our team does cleaning and maintenance. It’s a lot of work, because you’re cleaning not only the park, but also the streets around the park. When people come into our block, they can just feel it, because the streets are all clean, and there’s all these trees planted. I mean we clean up. Last year, we had 15,000 kids sign in at our sites. And these kids play hard, so things get broken. You have to replace the wooden planks and other things. When things break things, we take them to a work shop where we have a team. Our maintenance team can also build things.
About 50 percent are employed in running the park. We have a park host who comes in somebody who comes into the office every day. They put out all the play stuff and open up the bathrooms. They’re the ones scheduling all the programs Monday through Saturday. The other 25 percent does outreach and design for The Yellow Brick Road, plants trees, plant trees, and individual and group skills training. They train community members on how to use email, resolve conflicts, speak in public, etc.
How do you generate deep community buy in and involvement where others have failed?
We just show up every day and keep showing up. Most folks come into a community for a year or two and then leave. And then things go back to what they were. So the community doesn’t trust new initiatives, because they too will leave. It’s taken us nine years of work in this neighborhood, showing up Monday through Friday and not leaving, to gain that trust.
Some 7,500 neighborhood kids use Elm Playlot and Harbor-8 Parks annually. What do these places try to do about works and what doesn’t in terms of play? And, specifically, what’s needed to create a safe, welcoming playground in a neighborhood that has a lot of crime?
If you go into any of these neighborhoods, the first thing is you have got to staff the park. What makes it safe is there’s someone who’s there watching out to make sure the park is clean, safe, and welcoming. Second, parks must be “bespoke,” custom made for the particular neighborhood, so they can then be woven into the fabric of the neighborhood. The park has got to have soul. Most of these new plastic playgrounds that are plopped in from a catalogue just don’t have soul.
Harbor 8 Park playground / Pogo Park
Harbor 8 Park playground / Pogo Park
The design of the playground has to be generated from the inside out. The community has to be involved and figure out how it’s going to weave into the neighborhood. Children’s play is very complicated. It’s the mother’s breast milk of healthy development. Parks departments typically put in static play equipment that’s only good for physical play. You go up a ladder and slide down the slide and then go on the swing. But there’s all kinds of play: cognitive play, linguistic play, and imaginative, creative play. We have to create playgrounds that meet all the play needs of kids, not just physical needs. That’s why we say Pogo Park is an enriched play environment.
How have the new parks helped resolve community conflict and build inter-community trust? And what do you think still needs to happen?
Parks provide a community space for every human being on the planet. We’re social beings and gravitate toward public spaces where we can be with other people. Just claiming and holding this space, it becomes a sacred watering hole for the community. That has helped build the trust of the community, because it’s a place where people can actually connect in a real way with other residents and families.
You can’t just put the bones of the park down. You can’t just come into a neighborhood like the Iron Triangle and just plop something down and leave. You have bones but you also have to spirit. The spirit is programming, which makes the park come to life.
Now you’re rethinking another form of community space, streets. A project now in the works is the Yellow Brick Road, a “safe, green and clean” route for walking and biking that connects neighborhood schools, parks, transportation, shopping. Pogo Park organized another preview of a full scale 3-D prototype for the community to try out. What is your approach for designing, building, and maintaining this Yellow Brick Road?
Yellow Brick Road rendering / Pogo Park
Yellow Brick Road rendering / Pogo Park
We used the same 3-D modeling language we used for the parks, but translated it into the streets. We had to slow down traffic on the corners of the park, as we had some 15,000 people sign into the park last year, including thousands of kids. We worked with some of the top transportation engineers to design a new roundabout. We figured out what the dimensions needed to be and then mocked up a 3-D roundabout model. In the middle of the roundabout there is a hand-carved, eight-foot-tall totem pole the Pogo Park community team carved. Over two days, we let the neighborhood, police, and fire fighters actually drive through it.
We’ve spoken to others who have done 3-D models out of the street, but they never opened theirs to actual traffic. Neighbors could see what is going to be built rather than see it on a piece of paper. They could then add their thoughts right away. The community team, who are people the neighborhood knows, facilitated. Many neighbors, police, and fire fighters came up and thanked us so much for this. The 3-D models really got the community and city involved in a new way. We received a grant from the California department of transportation, and the Yellow Brick Road opened in January.
Yellow Brick Road demonstration / Richmond Confidential
Yellow Brick Road demonstration / Richmond Confidential
Yellow Brick Road / Pogo Park
Yellow Brick Road totem pole and roundabout / Pogo Park
Yellow Brick Road opening, January 2016 / Kaboom.org
Yellow Brick Road opening, January 2016 / Kaboom.org
Philadelphia Passes Historic “Soda Tax” to Fund Revamp of Parks
Eastwick Playground Park / Nicole Westerman
The Philadelphia city council approved a 1.5-cent-per-ounce tax on sweetened beverages. The “soda-tax”, as it is being called, will raise funds for parks and recreation center upgrades, pre-Kindergarten programs, community schools, and the city’s general fund, according to Mayor Jim Kenney.
The city council claims that soda-tax revenue will account for $91 million per year and $386 million over the next five years. About 15 percent of that revenue, or $58 million, is allotted for what the city is calling it’s Rebuild program, which includes parks and recreation center upgrades. Philadelphia’s parks and recreation facilities are notoriously underfunded.
One of the major goals of the Rebuild program is to address equity in the city, according to first deputy managing director Brian Abernathy.
“Everyone, no matter where they live, deserves quality recreation centers, open space and libraries.”
Abernathy added that the Rebuild initiative will conform with Philadelphia’s larger green infrastructure agenda by supporting “broader storm water management, energy efficiency, and sustainability goals.”
swingset-mcveigh
Swing set in McVeigh Park / Nicole Westerman
The bill was not passed without controversy, with opponents claiming it will be levied disproportionately on the poor. Last-minute negotiations designating a portion of the revenue towards shoring up gaps in the city’s budget further stoked opposition to the bill. Its approval has made Philadelphia only the second U.S. city to pass such a tax.
Mayor Kenney had been building political momentum for such an investment in public infrastructure prior to his election last November and financed research to find out what the opportunities are.
Chris Mendel, a landscape architect with Philadelphia-based Andropogon Associates, whose team helped lead a cost-estimate analysis of park upgrades, said Mayor Kenney’s staff approached his firm last October to analyze approximately 470 outdoor open spaces owned and operated by Philadelphia parks and recreation. Aided by data from planning and urban design office Interface Studio, Mendel and his team of Lauren Mandel, ASLA, and Patty West, Associate ASLA, had two months to complete the assessment.
“I came up with a survey method and we quickly chose some representative target sites to go see. 82 sites were physically visited. We were done with the assessments by mid-November.” Mendel said that in the waning days of the assessment, two parks staff members joined his team, helping to complete the assessment in time.
“As we finished up, everybody was hungry for numbers: how much this is really going to cost,” Mendel said. He and his team created two cost estimates for each site: One, a basic package that would make each park clean, safe, and ready to use; the second, a deluxe upgrade that would add sustainability and dynamism to the sites. “That’s where we added porous asphalt, nature play and water features.”
Mendel and his team then went over the estimates with seasoned parks staff, whose knowledge he said was invaluable to the process. “What we found was that the costs were not so bad.”
The portion of the soda tax revenue designated for Rebuild will be used to service debt on $300 million in bonds that the city is seeking, which will in turn be used with other private and public sources to help fund the project, according to Philadelphia Magazine.
10 Parks That Changed America
PBS will broadcast a new documentary, 10 Parks That Changed America, on April 12th. Produced by WTTW in Chicago and featuring Geoffrey Baer, the show identifies the 10 most influential urban parks in the country, from the era of America’s early settlers to the present day. In a preview at the National Press Club in Washington, D.C., Baer and show producer and writer Dan Protess announced the 10 parks selected by WTTW and its expert advisors, including Thaisa Way, ASLA, professor of landscape architecture at University of Washington; Walter Hood, ASLA, professor of landscape architecture at University of California, Berkeley; and Peter Harnik, Hon. ASLA, director of city park excellence at the Trust for Public Land and author of Urban Green: Innovative Parks for Resurgent Cities.
Here are the parks they settled on:
1) The Squares of Savannah, Georgia
2) Fairmount Park, Philadelphia, Pennsylvania
3) Mt. Auburn Cemetery, Cambridge, Massachusetts
4) Central Park, New York City, New York
5) Chicago’s Neighborhood Parks, Chicago, Illinois
6) The Riverwalk, San Antonio, Texas
7) Overton Park, Memphis, Tennessee
8) Freeway Park, Seattle, Washington
9) Gas Works Park, Seattle, Washington
10) The High Line, New York City, New York
At the preview, Nancy Somerville, Hon. ASLA, executive vice president and CEO, American Society of Landscape Architects (ASLA), and Harnik discussed the list. Somerville said the parks were all created to solve complex environmental, social, or economic problems, and those problems are still here today. “Savannah’s squares were created with the belief that everyone should have access to a park. Today, we see the same ideas underlying the environmental justice movement and the quest for clean air and clean water for everyone.”
She argued the one important park left out of the list was the National Mall in Washington, D.C. because it’s a symbol of the “accessibility of our democracy.” The National Mall shows the “power of places to bring people together. It was hugely influential in setting the public park or plaza as the place where people get together to express themselves. It’s the epitome of that.”
Protess said it was challenging to select just 10 parks that changed America and admitted many good candidates for the list had to be left on the cutting room floor. “Parks were selected for their influence, but we also needed to represent diverse geographies and include a diversity of forms, so it wasn’t all trees and grass.”
Somerville and Harnik were largely positive about the state of American urban parks. Somerville said “most urban park bonds pass. While Americans seem to be anti-government and hate spending these days, they are happy to put money into parks because they know how much they do for communities.” Harnik argued that “with the further densification of cities, every city now knows they need good parks to compete.” He said young people moving into the cities are looking for “places to play” and “empty nesters,” or retirees, moving back into cities from the suburbs, are looking for “some of the green space they had in suburbia.”
They also argued that showcase parks like the High Line in New York City and Millennium Park in Chicago aren’t being built at the expense of neighborhood parks either. Somerville said “the momentum for more parks is greater than that.” And Harnik, who ranks urban parks with his ParkScore tool, said “there is now a political movement for parks. There is a whole group of people who think parks are cool and important and they are bringing their voices.” In particular, dog owners are revitalizing the parks movement by pushing for investment in dog parks, which is having positive ripple effects for the rest of parks.
Somerville pointed to the slew of new research on the health benefits of nature, arguing the science shows “humans are hard-wired for nature, and so urban communities are putting in green spaces wherever they can.” The research shows that spending time in nature “reduces blood pressure, releases all these good hormones, decreases stress levels, and these effects last a while.” The opportunity to spend time in an urban park is “precious.” In the future, she sees only “more opportunities to bring in nature” in underused urban edges, like damaged waterfronts, and even in underpass parks, which are being developed in a number of cities. The key will be making these places resilient to climate change, storm-proof respites that can also mitigate flooding and the urban heat island effect.
Park access must become more equitable, and Somerville and Harnik identified some communities showing the way forward. Somerville said “under-served areas are now turning post-industrial landscapes into resilient public spaces that people want to be in.” She pointed to Hunts Point Landing, a park that sprung up amid a polluted waterfront in the South Bronx, which has some of the highest asthma and obesity rates in New York City. And Harnik explained how New York City’s new Mayor Bill de Blasio has shifted away from former Mayor Michael Bloomberg’s focus on the showcase parks like the High Line to invest in small parks in poorer neighborhoods.
Landscape Architecture in the News Highlights (February 1 – 15)
The Plimsoll Building / The Telegraph
Plans for Botanic Garden Move Forward, Despite Neighbors’ Protests The Houston Chronicle, 2/3/16
“Until now, the proposed Houston Botanic Garden has delivered more pain than gain to some neighbors in the southeast quadrant of the city. The future garden site is still functioning as Glenbrook Golf Course, and some residents would rather keep it just as it is.”
The Real Challenge for Los Angeles’ New Football Stadium Is Everything Around It – The Los Angeles Times, 2/8/16
“The feints, dodges, Potemkin stadium renderings and extended leverage plays are over. The National Football League — behemoth, cruelly skilled manipulator of cities and printer of money — is officially headed back to Los Angeles.”
London’s Green Revolution – The Telegraph, 2/9/16
“Landscape architects in London rarely get to think big. It’s all “pocket parks” and “parklets,” typical of a capital city where every inch of green space is worth its weight in gold, almost literally, and where garden designers strive to make buyers in small spaces feel they’re getting a taste of the great outdoors.”
There’s a Lesson in Spain’s Surreal, Unfinished CitiesThe Huffington Post, 2/11/16
“In a memorable scene in ‘The Big Short,’ the Oscar-nominated 2015 movie about the financial crisis, a real estate agent shows the main characters around a desolate Florida subdivision. She insists that the market is just in a lull as they drive past rows and rows of vacant homes.”
Feature: In and Outdoors The Architects’s Newspaper, 2/11/16
“As more people choose to live in dense urban environments, the latest hot-ticket residential amenity has nothing to do with marble countertops or on-call concierges: It’s outdoor space, the scarcest of all commodities in an environment where, regardless of grandeur, distance from nature can take a toll on quality of life.”
What Happened to the Great Urban Design Projects?The New York Times, 2/12/16
“American infrastructure is deferred home maintenance on a massive scale. We just keep putting it off until something major — and often catastrophic — happens, and then it ends up costing twice as much as it would have had we taken care of it proactively.”
When It Comes to Gardens, Your Architect Should Collaborate with Your Landscape DesignerThe Australian Financial Review, 2/15/16
“A garden is often seen as an afterthought, something to look at after the foundations of a house are laid. But this approach can create a disjointed result with the architecture and landscape appearing independent from each other.”
We Must Better Communicate the Health Benefits of Nature
ASLA 2015 Professional General Design Honor Award. Mill River Park and Greenway by OLIN / OLIN, Sahar Coston-Hardy
ASLA 2015 Professional General Design Honor Award. Mill River Park and Greenway by OLIN / OLIN, Sahar Coston-Hardy
While landscape architects, arborists, and park advocates, and an increasing number of mayors, planners, and public health officials, understand the presence of nearby nature in cities to be central to human health and well-being, the public seems to think of tree-lined streets, trails, and parks as “nice, but not necessary, add-ons,” according to a new report commissioned by the TKF Foundation and conducted by the FrameWorks Institute, a non-partisan research organization. The report shows wide gaps in understanding between members of the public and experts on the health benefits of nature, the value of daily exposure to nature, how landscape design can enhance nature’s health and social benefits, and how the presence of green space and trees can boost neighborhood and, by extension, community connections. The members of the public surveyed also don’t perceive the typical differences in the amount of trees and parks available to wealthy and poorer urban neighborhoods and so don’t see it as a major equity issue. Urban nature is simply not a top priority. As one survey respondent said, “nature doesn’t pay the bills.” FrameWorks argues the best way to increase public demand for more parks, trails, and green streets is to undertake a broad communications campaign to educate the public about the health benefits of nature.
FrameWorks interviewed 13 experts on urban nature in one-on-one sessions over multiple hours. Interviews with 52 members of the public were conducted across the country, with 20 in-depth dialogues along with 32 10-minute ones on the street. Interviewees were selected to be representative of the make-up of the country in terms of age, ethnicity, gender, residential location (inner city, outer-city, and rural areas up to three hours from the city), educational background, religious involvement, and political views. This is a small sample of the general public, but FrameWorks argues it’s enough to get a sense of the public’s “top of the mind” thinking about nature, cities, and health.
The experts and members of the public agreed on many things, and FrameWorks argues these areas of agreement are key starting points for creating a campaign that can increase public demand for more urban trees and green spaces:
First, nature is the root of human existence. Humans evolved from natural environments. Experts know this because their training is “firmly grounded in evolutionary biology,” but members of the public understand this, too.
Second, both the public and experts agree that nature sustains us. “Nature is the source of human sustenance,” said both groups, but members of the public tend to be more “consumerist in tenor and less attuned to the importance of biodiversity and linkages across ecosystems.” Consumerist because many of the respondents view nature as simply a source of food, wood and paper, etc — something to be consumed to meet human needs.
Third, cities are inherently stressful; they work against human well-being. Members of the public and experts agree that city life, with its fast pace, as well as “elevated levels of congestion, air pollution” and prevalence of concrete, can be “hard, cold, grey, and depressing.”
Fourth, feeling safe in nature boosts well-being. A quiet natural spot is seen by both members of the public and experts as a “respite from the stressors of modern urban life.” Places with lots of trees and water can provide “rest and positive distraction.” Nature is the opposite of our hectic urban life. Another key concept upon which to build greater understanding.
The gaps between members and the public are too numerous to list in full here, but here are main areas of divergence:
While experts view nature as central to human health and well-being, members of the public view it as a nice add-on and the absence of urban nature doesn’t rank among their top concerns. This may be because the members of the public surveyed don’t understand how time in nature reduces their stress, improves their ability to pay attention, or boosts their sense of well-being.
Experts understand that neighborhood access to trees and park space trends quite closely with income levels — wealthier neighborhoods typically have more of these natural assets than poorer ones, but members of the public are unaware of these different levels of access of nature. Experts also look to the broader return on investment these green spaces provide to tree and park-laden neighborhoods — in terms of increased safety, greater social cohesion and community connection, and improved health — while the public isn’t thinking in those terms. In particular, the community benefits of trees and green spaces are way off their radar.
Experts conceive of a whole range of innovative green infrastructure to deliver the health benefits of nature, but the members of public surveyed mostly thinks in terms of parks and walking or bike trails for recreation and exercise. According to the experts, natural infrastructure helps maximize daily exposures to nature, as exposure needs to be continuous for the benefits of small doses to accrue. But the public thinks of time in nature as a memorable one-off experience — a road trip to Yellowstone National Park, or a weekend hike on the Shenandoah Trail. Nature is a place to go to outside the city to recharge.
For experts, designed nature — realized through landscape architecture or garden design — has intrinsic value. They believe it’s still nature even if it’s managed, but the public largely sees nature “out there,” away from cities, as the most “salutary.” According to the experts, even a small urban garden can provide benefits, but members of the public don’t think these places offer a true break, only those places that truly remove them from their everyday urban life.
Lastly, the experts see the value of good design in public parks, but members of the public surveyed simply think in terms of quantity of green space. “For the public, design is largely a taken-for-granted feature.”
The question then for the many health, design, parks, and trails organizations working on these issues is: how best to communicate the health benefits of nearby urban nature to the public? How can we convince the broader public that spending time in a park, riding a bicycle on a tree-lined trail, or jogging along an urban forest path will have a “meaningful difference” in their health and this natural infrastructure can boost the broader health of the city? How can we convince them that nature in cities can be just as restorative as the nature “out there?”
The best proof may be the reality — well-designed urban parks are natural draws. But many argue that what’s needed is more research and more promotion of positive findings through the media and advocacy efforts directed at urban policymakers. ASLA created a guide to the Health Benefits of Nature, which collects the most credible research, and it has been immensely popular. But, clearly, more research studies are needed, which TKF and some universities and foundations are sponsoring, and more targeted communications campaigns are also needed to reach the urban public.
More promising small-sample research studies could also generate demand for a government-financed, large-scale, longitudinal study examining the impact of nature on all sorts of health mental and physical health issues. This kind of study, if it demonstrated positive results, could help bring the mainstream public health community on board, and, in turn, even more urban policymakers.
The good news is that many mayors and cities already get the value of access to nature, even in car-centric places like Houston, which is investing huge sums in new parks and trails. As momentum builds and more cities act, we can imagine a future where people in all of a city’s neighborhoods enjoy a daily nature outing because nature is everywhere, but this future will take lots more work to achieve.
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Believing In Design As Storytelling, Kelly Wearstler Has Revolutionized Modern American Design
Y-Jean Mun-Delsalle
Design is largely intuitive for Kelly Wearstler, which she describes as “a sort of falling in love over and over again”. Her signature sumptuous and vibrant interiors may be found in grand residences and luxury hotels internationally, from Beverly Hills to the Caribbean. Inspired by travel, nature, architecture, fashion, graphic design, literature and art, she’s particularly fond of the work of Pierre Cardin, Oscar Niemeyer, Carlo Scarpa, Louis Kahn, Gio Ponti and Carlo Mollino. Her eponymous luxury-lifestyle brand spans from residential, hospitality and commercial interior design to collections of furniture, lighting, rugs, fabrics, wallcoverings, tiles, luxe bedding, fine china, decorative home accessories and objets d’art. Contrasting raw with refined, blending color, sophistication and spontaneity, and incorporating diverse periods of furniture, she has changed the face of contemporary American design, earning her a spot on Architectural Digest’s Top 100 Architecture & Interior Design list, Elle Décor’s A-List, Wallpaper’s Top 20 Designers and TIME Style & Design’s Design 100 group of global creatives.
A creator of experiences, Wearstler believes that every new project is an invitation to embark on an unexpected and fascinating journey. As design is storytelling, she always aims to tell evocative stories, adventurous and full of soul, incorporating a mix of materials and influences. Her philosophy being “love color, take risks, stay curious”, she’s attracted to designs that explore intelligent use of materiality, juxtapose styles from a range of eras and bring a touch of the unexpected. She views mother nature as the best designer and interiors that play upon the raw, natural beauty of an environment as the most beautiful. This could translate into the way a marble pattern echoes the movement of foliage outside a window, or choosing a quiet, tonal color palette to highlight an unbeatable ocean view.
Born in 1967 in Myrtle Beach, South Carolina, Wearstler received her degree in interior and graphic design from the Massachusetts College of Art in Boston. She moved to the West Coast and waited tables while launching her own design business. After her first hotel project, Avalon Hotel in Beverly Hills, she decorated the Viceroy Santa Monica and went on to design multiple properties for the Viceroy Group internationally. For the Four Seasons Anguilla, she combined organic features – driftwood lamps, petrified wood tables and travertine floors – with textiles sourced worldwide, elevating the notion of Caribbean luxury while respecting the surrounding environment. Other key projects include the Bergdorf Goodman restaurant in New York City that mixes elements from the 1930s to the 1970s amidst shades of ebony, ivory, robin egg blue, chartreuse, mustard yellow and bronze, referencing sophisticated salons of the past and the building’s Beaux-Arts heritage, and the Compartés flagship store in Los Angeles, where she reinterpreted classic European chocolate shops of the early 1900s through a California lens.
Simultaneously, Wearstler’s residential design work grew to include homes such as the Bellagio Residence Bel Air, Hillcrest Estate in Beverly Hills, Malibu Beach residence, Evergreen Lane house on Mercer Island in Washington, Spring Street loft in New York City and mansions for A-list clientele from the film, music, art and creative industries such as Cameron Diaz, Gwen Stefani and Ben Stiller. Currently pursuing a new hospitality venture called Proper Hospitality consisting of high-end residences and hotels, she has completed the Hollywood Proper Residences, Santa Monica Proper Hotel and San Francisco Proper Hotel with its blend of vintage and new furnishings, custom lighting, bespoke reception desk and two-story black iron stairwell cage, artworks by San Francisco-based artists and specially-designed staff uniforms. Wearstler-decorated Austin and Downtown Los Angeles destinations will open in fall 2019.
“The best projects are inevitably the ones in which the client has a strong voice and distinctive point of view,” Wearstler says. “Q&A with Kelly Wearstler
Tell me about your origins and how you became an interior designer.
My mother was a designer and took me to antique shows and auctions, which educated my eye from a young age. I’ve always been drawn to design and knew early on I wanted to do something creative in the arts. After graduating from Massachusetts College of Art in Boston, I held a few design internships in New York, including with Milton Glaser, before I made the move to the West Coast. I started out with one client; I was referred by a friend and hired to design one room in their home and slowly grew my business through word of mouth. It was 1995 when I founded my studio. Everything that has happened since has been an organic, intuitive and heart-driven journey. I am very lucky to be doing what I love. It is a passion that I get to enjoy every day.
How would you describe your style?
My esthetic is a juxtaposition of so many different passions and loves. Designs that explore a clever use of materiality, the juxtaposition of styles from a range of eras and risk-taking esthetics appeal to me most. For me, designing is storytelling – mixing raw with refined, high and low, vintage and modern, patterns, textures and colors in a signature way.
What is your modus operandi, your work method, your differentiating factor?
I’ve always believed in staying authentic. My goal is to remain consistent with my core philosophy of creating beauty through thoughtful design. I consider myself a designer of interiors, expander of ideas, creator of experiences. My studio creates environments for people to expand their experiences within and add an element of adventure to their lives.
Describe to me your creative process.
I want to tell a story that is adventurous and full of soul on every scale. I first look at history, location and architecture, and I try to honor them, but push the boundaries at the same time. My process is largely intuitive. A piece of art, an incredible rug or a special vintage piece – anything that makes one feel something has the most fertile ground for building out the rest of the vibe. The architecture and the outside surroundings also have important consideration within a space. Windows are like framed pieces of art bringing elements and colors from the outside in. I curate organizational vibe trays for each room as part of my process. Placing all the elements, textures and colors of a space within a single tray helps to visualize the overall balance and cohesive dialogue. I source furniture, art, objects from all over the world – vintage and antique shops, auction houses, dealers. I make a point of keeping up with art openings or exhibits wherever and whenever I travel. Smaller art galleries and studios are great for discovering local contemporary artists around the world.
How do you help your clients discover their personal design esthetic and transform their vision into reality?
Being a good listener is the most important aspect of my work. I start every project by meeting with the client and understanding what his or her goals are: the particular vision, program and story they want to tell. Each project has to have its own identity. I then assemble vibe imagery to visualize what the project will look and feel like. We present this to the client to get aligned. From there, we begin designing. The best projects are inevitably the ones in which the client has a strong voice and distinctive point of view. Design is truly a collaborative effort.
Through your drive and ambition, how have you managed to become the interior decorator to the stars?
My designs employ a thoughtful use of materiality and spirited, soulful silhouettes that carry a distinctive voice. As an artist and designer, I want to be constantly educating my eye and challenging myself. I’ve been fortunate to have worked with incredible clients throughout my career who share my curiosity and sensibilities. All of them are so educated and unique. Each client teaches me something new and brings something different to the table. They are my greatest teachers.
What are the lengths you’ve gone to please your clients?
I am always looking to grow as a designer. Taking risks and stepping out of your comfort zone is truly the only way to grow. My job is to reflect their distinctive personalities and lifestyles through design. When projects are successfully articulated, there’s a natural progression that occurs.
How does it compare decorating for celebrities and non-celebrities, and for residential versus hospitality projects?
I approach every project – whether a residence (celebrity or non-celebrity), hotel, furniture or fabric collection – with the same process of exploration and passion. I always want to tell evocative stories, adventurous and full of soul, incorporating a mixology of materials and influences. The difference between projects is the consideration of designing to specific client needs. Hospitality projects are highly-planned projects that require a greater amount of specifications tailored to a commercial environment. However, it is very important to focus on details that will make guests feel at home and comfortable. A hotel should feel like home, infused with a unique character that is true to its location.
Describe the major turning points in your career thus far.
Two favorite projects that were turning points in my career would be my very first hotel, the mid-century modern Avalon Hotel in Beverly Hills, and my first restaurant, BG at Bergdorf Goodman, this iconic store in New York City. Working on these landmark destinations gave me a true sense of accomplishment. The $1 billion renovation and development project with Westfield Century City was my first commercial real estate project and of a remarkable scale, which made it both exciting and challenging. I wanted to create a uniquely immersive experience through thoughtful architecture and beautiful furnishings, infusing the property’s design and decor with an authentic Southern Californian vibe celebrating casual luxury and the outdoor lifestyle. Outdoor living is such a strong component of life in LA – my approach was to bring a unique warmth, intimacy and life to the spaces. Natural materials, interesting and varied furniture, and as much lush landscaping as we could put in became the major ideas used to create a friendlier and more residential series of spaces. One of our main mandates from the start was to find a way to make people do more than shop and leave the mall. We needed to give them places that they wanted to linger and lounge in because they felt good in them.
Tell me about your home collections and describe your target audience.
We consistently launch new designs for the home collections each season. Our target customer is anyone who is inspired by experience, loves to travel, has an affinity for art and appreciation of thoughtful details. I design environments for people to expand their experiences within, to heighten their senses and to broaden expectations.
What new projects are you currently working on?
San Francisco and Santa Monica Proper are the new hotel projects I’ve completed. They are part of a new brand of hotel and residential properties called Proper Hospitality. Each Proper experience is an ode to its city, with each hotel intrinsically dialed-in to the best and most authentic aspects the areas have to offer. I am currently working on the next Proper hotel and residential properties, opening in Downtown Los Angeles and Austin. I am considering commercial design projects in Hong Kong and Macao, and working on residential projects in Toronto, Austin and Los Angeles. I am always looking forward to the next adventure!
Follow me on LinkedIn
I’ve been a luxury lifestyle writer and editor for 14 years, meaning I’ve met with today’s movers and shakers and gone behind the scenes to observe master craftsmen at
I’ve been a luxury lifestyle writer and editor for 14
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Fascinating Macro World by Magda Wasiczek
Magda Wasiczek is a Trzebinia-based photographer who is in deep love with taking photos of flower and nature. She says that photography to her is the special mean to raise the awareness to the real beauty of the nature. Her life is completely changed when she decides to take photos as a profession. She now pays close attention to every single thing that she didn’t care before. The big inspiration for her in the photography is indescribable power that creates the world surrounds us. She used to use brushes, pencils to draw and paint the pictures but now she instead use the camera to take the beauty of those things. Here are some of the amazing photos of the world around us.
More Details: magdawasiczek.pl | Facebook |boredpanda
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ankara escort
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over 5 years ago by vxlab.cc
Which problem are you trying to solve?
In most countries, especially those where English or French is not the mother tongue of the inhabitants, children often
encounter difficulties in assimilating the letters of the alphabet.
How are you going to solve the problem?
Based on the theory of sensory stimulation, the idea is to design a device that uses the auditory, visual and tactile
sense of children to help them learn the alphabet in a playful way.
What is the impact of your project?
This project will facilitate the learning of the alphabet in children. The theory of sensory stimulation favors using as
many of the five senses to help a wider range of children understand.
How can the project be manufactured in the OpenLab?
Each key of the keyboard is composed of a plywood cut with the CNC machine, foam and a thin metal thickness that can be
cut with laser cutting.
Describe your project in detail
Alphabetica is an interactive installation that builds a pedagogical system designed for children between the ages of
five and fifteen, consisting of a giant computer keyboard unrolled on the floor in the form of carpets with alphabetic
keys on which the children can jump on to display using a videoprojector or a screen the letter corresponding to the
pressed key accompanied by a sound for dictatate the phonetics.
IndigoTech over 5 years ago
wow! its really an interesting project, but this is going to be hell expensive I guess, could you think on simplifying
it please.
vxlab.cc (Submitter) over 5 years ago
This can be quite costly insofar as high-end equipment is used. The keyboard is made up of 26 pieces as the letters
of the alphabet and each of them is composed of two plywood of a thickness of 4 millimeters, a foam with a thickness of
3 centimeters and a small piece of metal foil in copper. Nevertheless, for reasons of cost, it is possible to reduce the
dimensions of the surface of each key of the keyboard
diego over 5 years ago
wow es super el proyecto
Wow, it's super the project
vxlab.cc (Submitter) over 5 years ago
Gracias Diego,
Thank you for all the interest that you give to this project.
Omarhasayn89 over 5 years ago
A great idea ... The use of more than one sense in the child in the process of education works on the easy understanding
of information ... It is also possible to use vr and holograms to display information visually
TechUser over 5 years ago
Interesting idea! The children will learn the spatial relations between the letters within motion. Perhaps this might
work as an analog game as well. How might different cultural contexts and different languages be integrated? Are there
limits of application (e.g. does it work for Chinese as well)?
vxlab.cc (Submitter) over 5 years ago
Hi Omarhasayn89,
Thank you for you comment. Yes, it is also possible to use vr and holograms to display information
visually of course
vxlab.cc (Submitter) over 5 years ago
Hi TechUser,
We are have the project for make multiple games with this keyboard and extend it in others kind of use
cases like medical therapy or mathematics. For now only two languages is supported (English and french) but it's
also possible to make it works with Chinese as well
SabineFabLabIng over 5 years ago
As a german native speaker I think you have fomulated your problem a little bit unlucky.
It implies all native speaker
who are not english or french have difficulties with their alphabet.
I think this is not your aim? :)
As a playfull way
to learn ones alphabet your project is a great idea!
vxlab.cc (Submitter) over 5 years ago
Hi Sabine,
Thank you very much for your comment we did not pay attention to this since we originally imagined the
project in a local context. In most countries in Africa children have had difficulty learning the French or English
alphabet and the alphabet does not exist in their mother tongues.
yassineaskri over 5 years ago
Good project , try to develop more how the process works , designs , prototypes.. good luck !
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hero-cloud1 hero-clouds-bottom hero-cloud1 Untitled-1aa
Julie Dodd
Recycling books to make various recognisable forms from nature.
Most of my workshops involve using recycled materials. Here are just a few examples of already developed workshops. If you have a particular subject in mind for a workshop please ask me about it.
Please email me if you want to find out more, see more examples, or ask any questions.
Using various materials, many recycled to produce Christmas themed decorations and presents.
IMG_3716 IMG_9266 Mail black large
Click on the images to find out more
Working on projects with children aged 8-15
I develop workshops in the style of my work, workshops to fit alongside the school curriculum and workshops that I developed from scratch for the client
Projects and workshops as Artist in Residence at Wigan Libraries
Recycling materials to make various recognisable forms from nature.
the fallen leaf project leaf IMG_6089 20180404_194056 utah 3 panoramica 102_0476
Recycling plastics to make various recognisable forms from nature
Recycling textiles to make various projects
Recycling cardboard to make various projects
Most of my workshops are created especially for the clients but some are truely bespoke.
Outreach projects in various locations
photo IMG_9961
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0ad2d633-e261-4867-bfe8-ac161dc2d991
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Ask anyone to name a great modern architect and a few names will come up repeatedly. One of these people is Ludwig Mies van der Rohe. As one of the brilliant architects of the twentieth century, he made huge strides in the field of architecture and opened many doors for future designers. Never meaning to draw publicity to his ideas or himself, his ability to produce architectural statements of such overwhelming precision and simplicity created a major revelation in society. Throughout his life, Mies encountered many circumstances that influenced his style and characteristics as a building designer. During the eighty-three years of his life, each event slowly culminated to his mastery of the world of modern architecture.
Ludwig Mies was born in Aachen, Germany in 1886. He lived there for twenty years with his parents. His father worked as a mason and gave Mies a sufficient knowledge of building materials. Although he was only given rudimentary schooling as a child, at age nineteen Mies had acquired more valid knowledge than many architects would have after years of training and apprenticeship. He described his education as follows: “I had no conventional architectural education. I worked under a few good architects. I read a few good books. That’s about it.” Mies’ early life was average in all aspects; however, the one trait that set him apart from all others and led him to historic prominence was his will of enormous proportions.
In 1905, Mies moved with his family to Berlin. There he worked for Bruno Paul, an art-nouveau architect and furniture designer. This earned Mies his first architectural commission at age twenty-one, the Riehl House. Two years later, he joined Peter Behren’s design practice where he met master architects Walter Gropius and Le Corbusier. During his time with Behren, Mies assisted in designing the German Embassy in St. Petersburg. Still looking to gain individual recognition as an architect, he was inspired by Behren’s Turbine Factory, also in St. Petersburg. Its huge hall with steel-arched frames and piers of concrete resembled a poetic image of strength and power that Mies would soon bring into his work. The first suggestion of his independent creativeness was evident when he designed the Kroller House project for The Hague in 1911. It never went beyond the mock-up stage, but it gave Mies an opportunity to go beyond Behren without using any borrowed styles from the past.
The very next year, Mies left Behren’s practice and established his own studio in Berlin. He also got married. During this time the architectural designs and elegant neo-classical buildings of Karl Friedrich Schinkel became a well of inspiration for Mies, who borrowed his ideas until the late 1920’s. The majority of his early designs were highly speculative and experimental, showing signs of his search for a new and innovative style of architecture. Although Mies was still a classicist in terms of form, it was apparent that he was becoming more and more interested in structure, an element that he is known as the master of today.
When he returned to Berlin after a few years of military service in the German army, he came back to a world full of upheavals in art. There was new light shining on expressionism, cubism, and society’s welcoming reactions to all of it. It was in this atmosphere that Mies made the final break with his classical manner of the past in his architecture. This became recognizable when he sketched his Glass Skyscraper projects in 1921. The first of his designs was an all-glass tower reaching twenty stories high. This daring and imaginative idea was surpassed by another one of his drawings one year later. An even more radical thirty-story building showed a complex of free forms enclosed by a continuous curtain of glass. His sketches were exceptionally innovative since nothing before had ever been designed solely out of glass. These ideas suddenly pushed Mies into the forefront of the modernist movement and laid the foundation for designing glass and metal skyscrapers today. His models of steel frames and glass walls were just the beginning of what was to come in his architectural style.
At the same time that Mies created the Glass Skyscraper projects, his marriage also came to an end. It was then that he also decided to change his last name. He had never been fond of “Mies,” which was translated in German as “poor” or “wretched.” In search for a more professional name, he changed it to Mies van der Rohe, adding a version of his mother’s maiden name. He felt this was an appropriate alteration if he was going to be known for the strength and power of his buildings. By 1924 however, he still had yet to independently design a single important modern building. During the years of World War I, his work consisted mainly of publishing, exhibiting, and discussing projects. By 1925 his astonishing projects had gained him sufficient recognition resulting in many private and public clients.
In 1926 he was appointed vice president of Deutcher Werkbund. That same year he designed a monument to the martyred German communists Karl Liebknecht and Rosa Luxemburg. He displayed his great knowledge of materials with his use of superimposed and cantilevered masonry and brick. This project was a highlight during the time of Mies’ work with brick villas and monuments that became a distinct milestone in his career. Other brick buildings he successfully designed were the Wolf House in Guber, 1926; the Hermann Lange and Esters Houses in Krefeld, 1930; and the Lemcke House in Berlin, 1933. His brick houses and monuments from the 1920’s and 30’s remain the least known and publicized aspects of his career.
1928 marked the take-off point for Mies’ architecture when he was chosen to design the German Pavillion, his most famous early work, at the Barcelona International Exhibition. Since money was not an issue regarding the Pavillion’s construction, Mies built it with travertine, marble, glass, onyx, and steel. By using the most precious materials to any architect, Mies proved that he wanted the exhibit to be the Pavillion itself, not a display inside of it. He also designed the chrome and leather Barcelona chair to be used by visiting royalty at the Exhibition, which later became a twentieth century icon. Critics have claimed that Mies did not fulfill any functional problems with the Pavillion, but Mies’ response was backed by architectural history: “Buildings have a long life and usually outlive their original function and must adapt themselves to different uses. The only permanent ingredient a building can be expected to possess is beauty.” Most likely no one will remember whether or not there was a display inside the Pavillion, or what functional purpose the Parthenon served, if any. All that will be acknowledged is the brilliance of the architects and their exceptional structures.
In 1930 Mies became the director of the Bauhaus School of Design in Dessau, a major center of twentieth-century architectural modernism. That same year he designed the Tugendhat House in Brno, Czechoslovakia, another distinctive milestone in his career. It was the first glass house allowing nature’s trees and landscapes to form the visual interior boundaries instead of thick, opaque walls. Just as Le Corbusier had the Villa Savoye and Frank Lloyd Wright had the Robie House as a career-defining structure, Mies had the Tugendhat House to represent the residential side of his career. Many who criticized the lack of color used in his buildings often failed to see how he used the resources of nature to make his architecture vibrant with life and color through their glass walls. By this time in the early 1930’s Mies was recognized both at home and abroad as Germany’s greatest architect, as well as one of the world’s leading architectural figures. Mies’ motto of “less is more” not only typified him as a man of few words, but also described the methods of his work, distilling ideas to the point of ultimate purity. That well-known phrase also became the essence of twentieth-century architecture. In order to broaden his horizons even further, Mies moved to the United States and established an office in Chicago in 1937. Soon after arriving in the states, his well-known reputation landed him a job as the director of architecture at the Illinois Institute of Technology for twenty years. Here Mies had the opportunity to train a new generation of American architects and at the same time develop a master plan for the IIT campus by designing twenty buildings.
Throughout Mies’ architectural career, he designed well over 200 buildings and projects, not to mention the ones that never made it past the drawing stages. A large number of his works were done within the last twenty years of his life. In 1950 he created the Lake Shore Drive Apartments, which Chicagoans called the “glass houses.” The twin 26-story apartment towers influenced architects everywhere and eventually changed the look of almost every American city. One year later he designed the Farnsworth House in Plano, Illinois, which is often seen as the culmination of his residential architecture. “The Farnsworth house is, in all likelihood, the most complete statement of glass-and-steel, skin-and-bones architecture Mies or anyone else will ever be able to make. It is, also, the ultimate in universality, the ultimate in precision and polish, the ultimate in the crystallization of an idea.” Although the Farnsworth House may be his most well known residential project, the Seagram Building he designed in 1958 may very well be his greatest architectural triumph. Being the only building in New York City designed by Mies, it epitomizes the ideals of the modernist movement of architecture. Set back one hundred feet from the street, this masterwork of Mies and fellow architect Phillip Johnson has drawn many skeptical opinions about its “waste of space” with the large plaza. In Mies’ opinion, “a building deserves to be walked up to, not just driven into: for nobody dashing into an entrance lobby from an automobile portico will ever experience the full drama of a skyscraper.” Aside from its controversial plaza, the rest of the building is what makes it so exceptional. Its thirty-seven stories of glass and bronze are articulated by extruded I-beams on a dark glass curtain wall. Depending on the angle of view and lighting, its color can range from a deep black to a golden brown. The owner of the building, Samuel Bronfman, had only one requirement of the building: that it be “the crowning glory of everyone’s work.”
The Seagram Building may easily be the structure that Mies is most recognized for, but it was not the last of his great works. In the last ten years of his life he designed almost thirty buildings, including the Bacardi Administration Building in Cuba, the Martin Luther King Library in Washington, D.C., and the IBM Regional Office Building in Chicago. In 1959 he earned the “Orden Pour le Merite” lifetime achievement award in Germany and later the Presidential Medal of Freedom from the U.S. in 1963. Mies accomplished everything an architect could accomplish in a lifetime, and more. Elaine Hochman, author of Architects of Fortune summarizes Mies’ career by saying “the refinement of his architectural vision, his sensitivity toward materials, and urge for perfection has been lauded to a great extent.” After his death on August 7, 1969, he was buried in Chicago’s Graceland Cemetery, the final resting place of many architectural leaders, including Louis Sullivan. The street in front of the Chicago Museum of Contemporary Art near his former residence was also named after him.
Mies is universally regarded as one of the creators of modern architecture; in fact, few architects have required so much praise during and after their lifetime as Mies. As a modernist in style but classicist in principle, Mies’ work followed from history, but never imitated historical styles. He was recognized for his elegant use of material and precision of details. He often admitted to being more interested in intensifying an individual experience of a space than using architecture as a tool for social transformation. Throughout his career he sought out to leave a legacy of discipline, order, clarity, and truth in his architecture, and he became quite successful at it. James Johnson Sweeney remembered Mies at his memorial ceremony one month after his death: “The bequest which Mies left to all of us was his vital, personal, and inspiring patterns of order in a world which has suffered too long in recent years from the disregard of such a spiritual discipline. Today there is no need to stress the value of Mies’ contribution, nor his stature as an artist. As the latter, he had the good fortune to live to realize the universal recognition that was being paid him. To the world he was a great architect and a modest, self-effacing man. To his intimates he will always remain, what he always was to them, a benign monolith: a warm friend and full human being.”
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Sketching in the Snow
7504C20F-3D41-414A-88D5-081CD442EDD6
Diana Witch Hazel in flower
I’ve been snowed in for a few days following Storm Emma, bringing those icy winds our way and blowing the snow into sculptural drifts throughout the Countryside.
The sunshine was bright, so I ventured out all wrapped up, with my camera and Sketchbook in hand, heading into a foot of snow, to see what caught my eye.
I discovered Huge icicles 4ft long, like hanging spikes off the side of the house. They were amazing! Like pieces of LandArt glistening in the sunshine. They drip as they melt.
The garden was beautiful, covered in deep snow, with the yew hedge looking as though it had a dusting of icing sugar. I spotted the bright red of the Diana Witch Hazel (Hamamelis x intermedia Diana) in flower. Such an incredible vibrant colour agsinst the white of the snow.
DBD5D4FD-22D3-46F7-9C30-7833C12DBF24
Sketching in the snow
I love sketching outside, it’s so different and in the moment. It’s important to include creativity in your everyday life, especially if it’s your passion. It was the little things that were framed by the snow that caught my eye today. Nature’s treasures, like a leaf from the cut leaved beech and the fallen lichen and moss from the upper-most branches of a tree, all showing their amazing colours. I sat and admired them, as the snow glistened around them, whilst listening to the soundscape of garden birds
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Free shipping to Israel Shipping price to Europe is 18$ Shipping price to USA is 25$
Art, Peace prayers & Music
During times of continued social distancing, we keep our monthly Peace zoom gatherings Internationally. Our last one was geared to the Visionary Art, Peace prayers and Music. We heard banjo and guitar playing, Tibetan bells and more. If you want to join our monthly events, each 20th of the month, check our Facebook group. We invite you gladly, as the more of us making a difference the better. Muse, Art & Music makes our challenging times and the 2020 pandemic, easier to bear.
Another way for me to personally handle the stress and social isolation, was to produce ‘One Art Piece a Day’, during the first months of the pandemic. I used the Counting to the Omer as a tool to display each day’s symbolic meaning on paper. In the summer, I got a commissioned art piece, and it was great to create something taylor made for the costumers that work in a corporation.
I have also started a new series of oil paintings, and since the weather in Sweden during the summer allows for painting outside. Happily I resumed to work with this favorite medium of mine, Oil on Canvas. I have made 3 sets of diptychs and one large oil painting which took a month to complete, and it feels good to deliver the art piece to the clients.
Even during these times of uncertainty, in our lingering pandemic, it’s wonderful to be able to continue to paint and do my Art while completing other projects. Visioning a good world, despite all gives me hope and energy.
In hope our world will come back to a new ‘normal’ sooner than later, so we do not get too used to be socially apart. Not enough did the smart phone era make us less connected to one another, and now we started to live in zoom bubbles. A bit scary… and it makes me fondly remember the days I studied Art and lived in California, where we used to meet a lot, painting, dancing, partaking or leading workshops, healing events or tribal gatherings with the Native Americans, and much more. etc. Also the amazing festival in Israel we have celebrated over the years; looking forward when we can dance again together in the streets of Jerusalem.
Where have all those good times gone? They will reappear, after we all have learnt the lesson of really honoring one another and being together as one whole global collective.
I believe, we are co~creating “NEW good times”, in where we will meet in refreshed physical forms again, with out masks and virtual hugs. It will be a meeting from within another presence, of a deeper place and with greater appreciation, G’d willing.
Many blessings and much love, Eva Ariela
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FREE Gift Wrapping · Products guaranteed 100%
Kandinsky Throw Pillows – Sun Pillow Cover, green
Kandinsky Throw Pillows are a colorful expressionism, and pioneering work in abstract painting, Russian artist Wassily Kandinsky was also a prominent art theorist. He explored deeply into the meaning behind art, likening color to music (a parallel obvious to him; he had synesthesia), and art to prophecy, seeking after the numinous and spiritual, deeply subjective experiences that art can evoke. It is in this way that he most influenced the contemporary world of art.
Kandinsky portrayed the soul as concentric circles, circles within circles. Consider the circles as birth and rebirth. Contemporary Throw Pillows inspired by Kandinsky give depth and color to our homes. High quality embroidery work in hand-dyed wool gives this art pillow a vibrancy we can feel emotionally and physically. Guests will appreciate the color and culture provided by the Kandinsky Pillows.
*See related items below.
Kashmiri artisans work together in a cottage industry, handcrafting the entire piece from the design, to the wool, to the beautiful chain-stitch embroidery, the finest in the world. No child labor used and the pillow covers are made by highly skilled artisans making a living wage.
Kandinsky Sun Pillow Cover is 70% wool and 30% cotton with canvas back. Pillow insert not included but can be bought from any fabric store locally. The Kashmir wool thread makes it soft to the touch, and the raised-swirl texture of the embroidery delights the senses. 18 inches – sizes vary slightly as items are hand crafted. Dry clean. Contemporary pillow covers are easy to remove as they have hidden flap, 2 button or zipper closure at back.
One Fair Trade, 18″ Kandinsky Sun Throw Pillow Cover, green.
For more information on artist inspiration, as well as similar items, check out our Artist Page – Kandinsky.
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Why More Megapixels Are Actually Better for Black and White Photography
This is going to sound a bit odd, I mean how the heck are megapixels and black and white correlated?
Does it have to do with details? Well, no; not really. Instead, it has to do with the capabilities of your camera sensor, and more often than not, lower megapixel cameras aren’t as capable when it comes to editing. Smaller megapixel cameras are great when it comes to high ISO output. But with higher megapixels, you often get a vast dynamic range and colors. Believe it or not, that’s precisely what you want and need here.
How Black and White Digital Photography Works
Digital black and white photography work by using the colors in the scene and converting them to shade and tone. If you shoot a color photograph and then desaturate the RAW in a post-production program, then the color channels won’t be active at all. But if you convert to Black and White, then the channels will work just fine. You’ll be able to adjust greens, blues, reds, etc. all based on the white balance of your photo. More megapixels give you more color depth per color and per area in the scene. So with more color depth, you get more out of your scene when editing the color channels in a black and white image. This is something that you can’t get with fewer megapixels, but with more of them, you get more color information overall. More color depth means more manipulation possibilities.
In black and white, you basically get to change the luminance of each channel. This is much better and more versatile than using the basic panel adjustments.
Colors: They Matter a Whole Lot in Black and White
So how do colors really matter beyond what I just talked about? Well, let’s apply this to particular types of photographers:
• Landscape: You’ll be able to get more from the blue, green, orange, and red channels when editing a landscape image and depending on how you white balance. This is why I prefer 3200K and 5600K white balance.
• Portraits: Orange and yellow channels, in addition to reds can be manipulated to make a subject or specific details pop more.
• Wildlife: Pretty much the same as portraits
• Photojournalism: You folks arguably have the toughest job, but individual sections can be manipulated better with these methods
• Architecture: Pretty much the same as landscapes
• Still life: As long as you’ve perfectly illuminated your subject, you’ll get everything you need.
Medium Format and High Megapixel Full Frame 35mm
While this post may seem like it’s in praise of high megapixel sensors, it surely is when it comes to manipulation of individual color channels and therefore editing. In that way, more megapixels are often better for editing. But you don’t necessarily need the higher megapixel cameras if you just have better control and idea over working with color channels and manual white balances. By that, I’m specifically speaking to working with individual Kelvin channels. Side by side and resized, it would be difficult for a person to be able to tell the difference between images from my X Pro 1 and my a7r III. While I often speak to Fujifilm’s great sensor versatility, Sony, Nikon, Pentax, and medium format sensor companies also have fantastic options.
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Skip to content
Breaking News
• Cherry Creek North's Fillmore Plaza underwent a redesign in 2011,...
Cherry Creek North's Fillmore Plaza underwent a redesign in 2011, and now it plays host to shops, restaurants and public events. The redo preserved the area's low-rise character but used modern materials.
• Construction goes on in Cherry Creek North. Design rules guide...
Construction goes on in Cherry Creek North. Design rules guide the way buildings interact with pedestrians.
• A construction shot from the new Coda Cherry Creek Apartments....
A construction shot from the new Coda Cherry Creek Apartments. Cherry Creek North has some of city's strictest design rules, and they work, designers and developers say.
• In Denver's Stapleton neighborhood, design rules maintain its new urban...
In Denver's Stapleton neighborhood, design rules maintain its new urban sensibilities.
Everyone in the building business admits some unease over government-imposed design review — the idea that a city official or an unpaid board can say yes or no in matters of architectural taste. Developers worry that forced beautification, as some call it, slows progress and adds cost. Architects fear that established standards force them to think inside the box, rather than to dream up new things.
Nearly everyone has concerns that regulations could limit property rights and increase bureaucracy, that they put too much power in the hands of neighborhood associations and NIMBY activists who could dominate the process, that it’s impossible to agree on aesthetic choices.
Yet nearly everyone backs them, especially now in Denver, where the construction boom is on and the consensus is that a lot of buildings are going up that disrespect the character of their surroundings and harm the city’s image as a capital of progressive, Western living. Ugly might be hard to define, but there is widespread agreement that it’s on the rise.
So are regulations.
Special districts
Denver now has about 20 neighborhoods and large developments, from Cherry Creek North to Stapleton, where new projects face mandatory review by the planning department. In addition, there are about 7,000 structures in designated historic areas where renovations must undergo design scrutiny.
Still, the rules cover only about 15 percent of the total geography, and there’s an aggressive plan to expand. The city likely will add two new, and crucial, review areas in the next year: the quickly growing River North ( RiNo) and Arapahoe Square downtown. Committees are drafting guidelines.
“For me, it all comes back to the idea that the true value of a place is in the public realm,” said Brad Buchanan, who directs Denver’s Community Planning and Development agency, giving him the most sway over the matter. “It’s very clear to me and to our department that we have a responsibility to each other in protecting that public realm.”
Buchanan insists that design review isn’t about taste as much as context, but there’s a thin line, and the guidelines vary from the usual, catch-all regulations established by traditional zoning codes.
Types of limitations
For example, zoning rules determine use, cap buildings at a certain height and mass, and establish setbacks from the street. Design rules, like the ones in Stapleton, designate choices in materials, placement of windows and the shape of roofs. Concrete block (cinderblock in more common terms) and “tilt-up” concrete walls are discouraged.
Design rules across the special districts might require that garages be made from the same materials as the primary structure on a property, that entrances are marked by porches or awnings or recessed front doors, that ornamental finishes hold up against weather.
“A wide variety of appropriate architectural styles, materials and details throughout the district are encouraged,” the Cherry Creek North codes state generally, before laying out a long list of specifics.
It’s hard to argue that “architectural styles” are not a matter of taste or that other rules go well beyond the usual tools governments use to keep streets safe and healthy. The district goes so far as to expect developers to save existing trees, create “inviting façades,” use background “halo” illumination on signage, and employ sustainable building practices. Is that even design?
Cherry Creek rules are strict, but they have been effective and now serve as a model for emerging districts. The area has boomed, wildly, adding hundreds of thousands of built square-footage, but it looks slick, designers and developers agree, thanks to an understanding that materials have to be genuine, that retail spaces must be lively and transparent to keep the visuals interesting, that public plazas stay at a human scale common to a low-rise area — attributes suggested in the design package that’s now reviewed by an advisory panel.
“Just the presence of a board can cause you to be more conscious of design,” said developer Randy Nichols, whose handsome, Clayton Lane project set a forward-looking standard for a decade of construction in the area.
More in order?
Would widespread design review save more of Denver? Would it eliminate the undistinguished apartment buildings going up in other areas — quickie construction jobs that use cheap vinyl and wood materials, cram their lots, leave little breathing space for the people who live in or around them, that dab on bright Velveeta cheese-colored squares of paint to obscure the fact that they are boring blocks otherwise?
Should the Broadway corridor, Highland, and all those neighborhoods along the new light rail line be design-restricted?
That’s likely impossible as far as enforcement goes, and impractical regardless.
Design review works only when there’s a basis for creating standards that everyone can agree on in the first place. A neighborhood already has to have common characteristics — building heights or historic materials, houses or warehouses, parks or paths, a certain density.
“It’s easy to come up with design standards in homogenous places, like Cherry Creek. But if you try to apply that in other areas, it gets really difficult,” said architect Chris Shears, of Shears Adkins Rockmore, a strong proponent of design review — when it’s done effectively.
What’s common along Broadway as it heads south through the city? Or in all of Globeville or LoHi or West Colfax, other places developers are eyeing?
Common in RiNo is its industrial style, and the new rules shaping up there are taking cues from existing structures made of steel or concrete, that stand at a common height, that avoid the ornamentation of mansions in Capitol Hill or the glass of downtown.
Denver designer and builder Mickey Zeppelin is among those pushing for the guidelines. His Taxi development is proof of what’s possible, a place that has introduced mixed uses to the neighborhood — retail, office, residential — without losing the character. His buildings have a similar personality to the factories that long defined the area’s style.
“What makes great neighborhoods around the country is that there are places for people get together, places on the street to buy goods, places where people can communicate,” said Zeppelin. “That’s what neighborhoods are all about.”
Fairness, timeliness are important
Like other developers and architects, Zeppelin believes successful design guidelines come down to the way they are enforced.
Denver planner Nore Winter is a consultant for cities across the country who want to strengthen their design. His firm is currently developing a review process for Los Angeles, the country’s second-largest city.
Review is effective only if it is set up to be fair, predictable and efficient, he believes. The rules have to be based on tangible attributes of the neighborhood. “Good and bad is not really the subject for most design-review guidelines,” he said.
Governments and boards have to work within reasonable time frames in approving projects, so construction — which brings jobs and housing and tax revenue — isn’t unduly interrupted. Review must take place at the various stages of design, from concept to permitting documents, so there are no money-losing surprises.
And possibly most important, review boards or planning staffs have to be qualified. Panels should be made up of architects, city workers and neighborhood representatives, but they have to know something about design and accept that neighborhoods will grow and change, and that taste varies.
Anti-development activists, architects with huge egos and folks vying for a piece of the financial pie should find another venue to air their interests.
Those who are there for a personal agenda are problematic, Winter said, “whether you’re a talented designer or a do-gooder in the neighborhood.”
Make room for new ideas
The rules also need to have some provision that allows for new ideas to take shape. The Clyfford Still Museum, for example, is Denver’s best-regarded piece of contemporary architecture, but would designer Brad Cloepfil’s basic concept — a concrete box with a minimum of windows — fit the guidelines in most places?
Zeppelin suggests that’s just a matter of writing the best rules, making things like innovation and neighborhood needs part of the standard. Design can have unintended benefits for a city. Limiting building type and height in a developing part of town, he suggests, also limits the value of property in those places because developers can’t go up and up, creating more units. If property values are limited, neighborhoods in general are more affordable — they don’t become places where only wealthy people can afford to live.
It’s all about methods. The most effective reviewers work more like consultants — free ones in a way — for construction projects. During the process, they might suggest bigger living spaces or insist on sharper retail options or advise on the inclusion of outdoor spaces, such as functional balconies or common green spaces, or remind developers that the backs of their buildings are important, too — things that actually add value when it comes time to lease or sell a property.
They protect investors’ interests because they prevent the next developers from coming along and putting up yet another ugly building that brings down everybody’s worth.
Shears, who has served on boards and put his case before them, describes good review as a simple conversation among people who care about their city.
Effective review “adds depth and breadth,” he said. “You can encourage good design and avoid weakness, and you can recognize opportunities that maybe the designer hasn’t recognized.”
Ray Mark Rinaldi: 303-954-1540, rrinaldi@denverpost.com or @rayrin
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Still Life with Lemons, Oranges and a Rose
Francisco de Zurbarán (Spanish, 1598-1664)
Oil on canvas
24-1/2 x 43-1/8 in. (62.2 x 109.5 cm)
Credit Line:
The Norton Simon Foundation
Accession Number:
F.1972.06.P
© The Norton Simon Foundation
On View
This extraordinary painting by Zurbarán, the only signed and dated still life by this great master of the school of Seville, has been widely admired as a masterpiece of the genre. To devout Spanish Catholics in the 17th century, the apparently humble objects portrayed here contained significant religious meaning. The measured placement of the three motifs, for example, would have been instantly understood as an allusion to the Holy Trinity. The painting has also been interpreted as an homage to the Virgin, with the oranges, their blossoms, and the cup of water symbolizing her purity, and the thornless rose referring to her Immaculate Conception.
Zurbarán depicted the physical character of the objects, and the space they inhabit, with unparalleled focus and skill. By modeling the rough-skinned yellow citrons with hints of green and russet, he suggests the fruit’s protuberance and weight. The arrangement of the orange leaves creates a rhythm of light and shadow, echoed again in the reflective surfaces of the pewter plates. Presented as a quiet, meditative piece within a shallow, minimally described space, this still life evokes a mystical intensity that transcends time in its appeal.
A recent cleaning has removed opaque layers of varnish and discolored retouches, revealing once again the clearly defined edges of the table, the four decorative inlays at each corner, and Zurbarán’s characteristic skill in describing the rough, textural skin of the citrus fruit. The welcome balance between the dark, atmospheric background, the warm tones of the fruit and basket, and the cooler tones of the silver plate and ceramic cup have been restored.
Click here to watch a video about the 2008 restoration of this painting.
Alexandre Antoine Ernest Journault (1836-1924), widower of Mme. Louise Henriette Aline Ferris Journault, nee Aline Kraft (d. 9 July 1921) (sale, Paris, Hôtel Drouot, 26 May 1922, lot 18, as Plat de cédrats, corbeille d’oranges, fleur et gobelet sur une table), sold for 2600 frs. to;
Count Alessandro Contini-Bonacossi, Florence, by 1930, by descent to;
Heirs of the Contini-Bonacossi Estate, Florence, to
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Caroline Busta on Thomas Hirschhorn’s Robert Walser—Sculpture
THIS SUMMER, on the placid waters of Switzerland’s Lake Neuchâtel, the artist Daniel Keller and I gave a talk on “deep adaptation,” an extreme yet increasingly mainstream response to impending climate catastrophe. Titled “New Models Module: Imagining Collapse,” the lecture looked to the far reaches of digital networks (guided by artist Joshua Citarella’s work on Gen Z culture) to convey the spectrum of disparate, radical ideations of post-collapse societies that have been gaining traction online.
Heading home the next day, we changed trains at Biel/Bienne, where just beyond the station’s entrance stood a sprawling structure covered in DIY banners and spray-painted text. At the center, and visible from the station, was a massive sign: ROBERT WALSER ♥ FOR EVER. We had happened upon Thomas Hirschhorn’s latest homage to European intellectuals, the interactive, eighty-six-day-long Robert Walser—Sculpture: A “Presence and Production” Project in Public Space, 2019.
To be honest, I hadn’t seen or really even thought about Hirschhorn’s work in some time. Coming to prominence in the late ’90s and early 2000s alongside the projects of Liam Gillick, Philippe Parreno, and Rirkrit Tiravanija, his art had been associated with the erstwhile genre of relational aesthetics. And indeed, his dystopian, science-fair-style presentation of too much information (all of it fact-intensive and free for the taking) fit perfectly with the then-popular notion of good art as that which could serve as a “laboratory” for viewer participation. Yet the Swiss artist has countered this assessment. With activist roots in the leftist French design collective Grapus, he claims he has never aimed merely to “activate” public space, but rather to compel an exchange with his audience through radical inclusion and confrontation, to give of himself so fully that viewers would feel obligated to join in.
Whatever the case, Hirschhorn’s was a banner name for early-twenty-first-century exhibition culture, figuring prominently in Harald Szeemann’s Forty-Eighth Venice Biennale (1999) and in Okwui Enwezor’s Documenta 11 (2002). In part, his visibility stemmed from the mediagenic nature of his work. His installations resemble the wreckage of natural catastrophes from afar and resolve, at closer range, into fractal agglomerations of current news headlines and above-the-fold images. Importantly, Hirschhorn has often sited his projects in economically precarious neighborhoods (e.g., his Bataille Monument, 2002, located within an immigrant-housing development in Kassel and his Musée Précaire Albinet, 2004, which temporarily relocated several works from the Centre Pompidou to a low-income Parisian housing block), bringing attention as well as canonical art and theory to regions beyond established art-world routes. All of this made great fodder for ’00s debate, set as it was against a backdrop of accelerated globalization and the digital colonization of informal economies worldwide.
In the past several years, though, Hirschhorn’s work has somewhat receded from thought, which is curious given how very present he had been and how active he remains.
BACK AT THE STATION, Daniel and I set out to explore Robert Walser—Sculpture in the brief hour before our next train. Comprising, in all, some forty departments, Hirschhorn’s latest and largest public work was a literal social platform crafted from plywood and OSB. Big enough to be its own destination, it also included a decentralized fleet of local taxis stocked with Hirschhorn-anointed Walser books; a free book exchange; a bookstore filled with translations of Walser’s novels into non-Romance languages; and a section titled “Apporter le Monde Arabe” (Bringing in the Arab World), its purpose to do just that.
Unsure where to begin, I loaded robertwalser-sculpture.com on my phone, bringing up a skeuomorphic “handwritten” list—THEATER, BAR, VORTRÄGE (lectures), TÄGLICHE VERNISSAGE (daily opening), FORUM, RESIDENCY, and so on. With this sculpture came an entire art-world language pack that, with its emphasis on communality and democratic communication, had been a mainstay of early-’00s art writing before the internet scaled up and this lexicon faded.
Is it odd that we don’t speak of “forums” anymore in the Hirschhornian sense? Not really, I reasoned, because that term now more strongly connotes sub-reddits and chans, which, even if nominally “democratic,” are hardly paragons of enlightenment values or a Habermasian public sphere. Even a “daily Vernissage” now sounds improbable, or from another time, recalling a moment before the middle tier of the gallery world had contracted, when a collective belief in a commonly held art world still felt possible. There was something forced about this language to a 2019 ear.
When I met back up with Daniel, he was standing by the departures board looking at his phone. He read aloud a Guardian headline: “‘Hell Is Coming’: Week-Long Heatwave Begins Across Europe.” How could Hirschhorn’s work, I wondered, compete with the clear and present concerns that now fill the public sphere—both online and off? When would we start to see Big Art’s own “deep adaptation” to a culture whose concerns and common ground are profoundly shifting? I still thoroughly enjoyed Robert Walser—Sculpture and appreciated the intense labor that must have gone into its making. But in 2019 perhaps the goal should no longer be to create a form, as Hirschhorn would have it, that strives above all to court “the other.” Perhaps it should be to build a framework that can accommodate the fragility not only of democracy but of the natural ecosystems on which society in any form is dependent, a framework of which the other seeks, of its own accord, to be meaningfully a part.
Caroline Busta is a writer based in Berlin.
October 2019
VOL. 58, NO. 2
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The Building
Work on one of Warsaw’s most exciting public buildings was completed at the beginning of 2013. The building, designed by Finnish architect Rainer Mahlamäki, has 12,800 m2 of useable space. One-third of this area will be occupied by the core exhibition, due to open in 2014. The remainder comprises temporary exhibition areas, a multi-purpose auditorium which can host conferences, film screenings, concerts, plays etc., an Education Center, two screening rooms, a restaurant and café.
Construction works, funded by the City of Warsaw and the Ministry of Culture and National Heritage, were carried out by Polimex-Mostostal.
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Out of stock
Lionel Marchetti
Alpha Z Centauris
Genre: Experimental
Out of stock
'I started recording sounds when I was 17 years old, in 1984 when by chance someone gave me a K7 tape recorder with 2 diverse speeds... I discovered recording sounds was already a full and poetic act which was able to be used for the experimental music which i was dreaming of. In 1987, after one month of hard work in a summer camp restaurant I bought a 4-track stereo tape recorder and I started a lot of experiments in my little flat in Lyon (France) : via an old Radiola radio from the 50's, my hifi system, an old synthesizer, my clarinet (I tried to play in water), a rhythm machine, a bad (good?) microphone etc. At that period I knew nothing about Revox tape recorders and the idea of tape montage. Nevertheless, when I started Katakomb (which is a part of a series of my first 33 little musique concrete compositions, I discovered how incredible was the changing of speed for a recorded sound, or all synthesizer sounds, voices... and the beautiful possibility to reverse all sounds - I was discovering the 'power' of a recorded sound. For me, the act of recording became an incredible acceleration to join a new poetic 'world' : Katakomb was the first composition which was talking to me from a 'nowhere' place as if, as a composer, I became a 'stranger'. Satan and Alpha Z Centauris are composed as little free musique concrete studies and they follow what I started in 1987 : the idea of an accumulation of little aphoristic studies which can communicate all together even if they are composed in diverse periods and studio places. I have, since that period and always today, numerous little study compositions following that direction and I am happy to build around them, via a first edition of my archives on Mirror Tapes which has founded a new architectural place of montage and perceptions.' L.M. (label info)
Cat. number: MT010
Year: 2011
Limited Edition: 250 copies only.
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A Lively Funeral: The Three Deaths of Ebony Black
4 stars
For a show purporting to be about death, The Three Deaths of Ebony Black is abundant with life. You'd be forgiven for believing that you're watching an ensemble cast.
Instead, Amberly Cull and Nick Pages-Oliver take what are, by and large, quite minimalist marotte-style puppets and imbue them with personality through subtly nuanced control and outrageous voice acting.
Image courtesy of Minh Phat
Image courtesy of Minh Phat
Bunraku theatre comes to mind at the sight of black clad puppeteers, but it’s apparent from the outset that they’re in no way intended to fade into the background or be consciously ignored. Quite the opposite, in fact, as what details are lacking on the puppets themselves are supplemented by the movements and facial expressions of the performers.
Whilst the characters in this performance are ludicrously exaggerated depictions, they are well-developed and have understandable motivations. Recurring musical themes and individual quirks help the audience to immediately place the hinge-jawed players in the story.
The Three Deaths of Ebony Black is an ambitious narrative in and of itself. Set almost entirely within the bottle of a single building on a single day, the piece conveys the messy complexity of challenging times. A few musical numbers and repetitive devices serve structurally to carry the story along, and transport the audience along with it.
Image courtesy of Minh Phat
Image courtesy of Minh Phat
Although there were a few stumbles along the way, they did not detract or threaten to derail the impressive momentum of the show or its chaotic nature. There was, however, a minor element of audience participation that didn’t mesh well with the impressive pace, nor did it really add anything of significance to the narrative.
Still, this is a touching, hilarious and engaging story, and one that may belie the audience’s expectations of the art form. It’s clear that the performers have a deep appreciation for both their audience and their craft, which serves to enrich the experience.
As we follow the conflicts of this group of intertwined characters, we come to understand them through their response to the death of the titular character.
We end on a sobering scene which, along with the touching introduction, bookend a tale that demonstrates how one death can be the beginning of so much for so many.
Tickets available from the FRINGE WORLD website.
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Swiss Haute Horlogerie Manufacture Audemars Piguet celebrated the unveiling of The Art of Listening: Under Water, a new public site-specific sound composition by Norwegian contemporary artist Jana Winderen during Art Basel in Miami Beach. Located in the Collins Park Rotunda, the installation brings awareness to the ocean’s increasingly fragile ecosystem and represents the artist’s most recent investigation on the environmental impact of human-created sounds on our planet.
Audemars Piguet marked the celebration of the artwork’s debut in the Collins Park Rotunda with a private press walkthrough and intimate brunch. Led by Susan Simmons, Audemars Piguet Foundation’s General Secretary and Audemars Piguet Associate Curator Denis Pernet, the walkthrough provided guests with an inspiring insight into the Manufacture’s collaboration with Winderen and the latest resultant work, which was completed onsite in Miami by intermixing sounds from local waterways and undersea life. Visitors experienced the work first-hand by listening to the recorded sounds of the oceanic environment and reflecting on the ways in which human activity is constantly interfering with this delicate ecosystem.
The composition discloses sounds specific to the Miami harbour area, the Barents Sea and the Tropical Oceans exposing the constant presence of human noise that pervades these oceanic environments. The work was produced in conjunction with long-time collaborator Tony Myatt and is free and open to the public throughout Miami Art Week.
The Art of Listening: Under Water bears strong resonance with a theme present in many of Audemars Piguet’s artistic projects, raising environmental awareness around the world. When asked about her interest in working beneath the surface of the water to source sounds for her compositions, Winderen replied: “I have always been drawn to the underwater environment since I was quite young. There is so much life and activity within it, almost all of which is entirely inaccessible to humans. Recording these sounds offers a way to understand the plants and animals beneath the ocean as well as how these life forms respond to the inescapable human activities which surround them. When you listen to the composition, it’s impossible to decipher the difference between the two, the natural and unnatural, which I hope brings pause and contemplation.”
Additionally, Audemars Piguet presented Du Petit Risoud aux profondeurs du Lac de Joux in this year’s Collectors Lounge at Art Basel in Miami Beach, Winderen’s first site-specific commission for Audemars Piguet which followed a two-part residency in the Vallée de Joux in early 2019. The work, which made its debut at Art Basel in Basel (June 2019), also examines the human impact on our environment, bringing listeners on a journey through the unique ecosystem of this remote valley by uncovering the heightened sound of civilisation heard throughout the surrounding forests and the depths of the Lac de Joux.
The Lounge also represented the latest chapter in Fernando Mastrangelo’s collaboration with Audemars Piguet. Mastrangelo first unveiled his Lounge design during Art Basel in Hong Kong (March 2019), evolving the project for this year’s edition of Art Basel in Miami Beach by displaying bespoke furniture, design cases and walls inspired by the natural landscape of the Vallée de Joux, precisely crafted after his visit to this mountainous region.
Both Winderen’s and Mastrangelo’s commissioned works presented in Miami Beach provided viewers with intimate glimpses into the multitude of ways in which artists creatively interpret the world around us.
© 2019 DUNES
DUNES magazine is the Middle East luxury lifestyle magazine covering local, regional and international fashion news in addition to articles from our editorial team about fashion, lifestyle, health & fitness, watches & jewellery, beauty, travel & hospitality, interviews and many more features.
Dunes magazine is a supplementary of Maqina
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Sited in a beguiling Grade One Listed Georgian building with one of the finest Rococo plasterwork interiors in London, The House of St Barnabas has for over a century been the residence for a homelessness charity of the same name, while also served as a recent temporary home for pop-up members club Quintessentially Soho. Now, in a bid to support those less fortunate back into fulltime jobs, the organisation has launched a new member’s club in which it will offer work experience as part of its Employment Academy. The space, which has been spruced up to its original glory has been designed by interiors architect Grainne Weber, who created a cosy opulence with a mix of contemporary and classical furniture that offsets the tradition of the house. An art collection and revolving exhibitions curated by Katie Heller will feature artists such as Tracey Emin and Martin Creed, while the music, by director Sav Remzi will feature a residency programme of DJs. A casual menu of homemade pizzas and artisan flatbreads will be served in the private courtyard garden, while the restaurant will feature dishes inspired by Grand European brasseries with locally sourced ingredients. The house also boasts a bar and a series of meeting rooms and events spaces.
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Latest News
Former St Mary MacKillop College Student Shares Skills
Five years ago, Chelsea Agno graduated from St Mary MacKillop College with dreams of becoming an artist. Now that those dreams have been realised, Chelsea has returned to MacKillop to inspire the College’s aspiring artists to do the same.
After a successful trial of the Artist@MacKillop program last year, MacKillop invited Chelsea to participate in the program for 2017, bringing her into the College once per week to share her knowledge and skills with MacKillop’s art students.
Chelsea is a graphic designer, illustrator, and artist with a passion for 3D graphics. In just five years, she has already had a successful career, winning multiple competitions, working for high-profile clients like hip-hop artist J. Cole, and having her work featured in a range of magazines. She is now an intern with No Cure Magazine.
As the daughter of an artist, art was always something she was going to pursue, but, according to Chelsea, the influence of her art teachers also contributed to her success.
“When I was at MacKillop, I tried to take every single art class that I could, basically because it was a bit of a refuge for me. I think it’s important to find your passion as a student and put your energy into subjects you enjoy,” she said.
“I think the teachers at MacKillop are part of the reason why I’ve decided to pursue art later on in my life. They were all huge influences in my life and they were always really supportive of my style and what I wanted to do.”
As part of the program, Chelsea has made presentations to the senior Visual Arts, Photography, Media, and Graphic Design classes and has been available to run workshops and mentor students one-on-one.
“I enjoy sharing my experiences, being able to have an impact on the students, and to inspire them and get them excited about art, because it’s something I’m passionate about and I like to share my passion with others,” she said.
So what advice does Chelsea have for MacKillop’s aspiring artists?
“Don’t compare yourself to other artists; work on your craft as often as you can, maybe even every day; take it easy; talk to other artists; network.
“During my career, I’ve been rejected from a lot of competitions and a lot of jobs but that has directed me onto the right path and taught me some valuable lessons. I think it’s important to receive criticism and receive feedback from other people in order to improve your work.”
Go Back
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Creativity on the Fly, a Self Paced Course by Kirsty Larmour
It is always an honour when you’re asked to teach on a subject you’re passionate about. So when I was approached by Click Photo School to ask if I could work on something on creativity I took a deep breath and said YES! Why the deep breath? Because creativity is something so deeply ingrained in us, and is such a huuuuuuge topic I had to ponder a moment on it. I mean where do you start?
So I started with what I know best – making it part of our everyday. Before we even lift a camera, before we think of composition, or lighting, or setting and story. We need to weave creativity into our lives. Now, I believe we are all creative, no matter what any of us may have been told, but we are all unique in our creativity, which means teaching it is a huge task. Instead I believe that we can nurture it, encourage it, nudge it to be set free, in our daily lives, and onwards to infuse into our photography.
And so “Creativity on the Fly” was born – as a follow up to my much loved previous guide “Photography on the Fly”. POTF was a guide to becoming intuitive in photography, and this new guide is a stage deeper, a dive into being creative in our lives, and then layering that into the images we make from the lives that we live and the unique ways that each of us see. It’s not a lightning bolt of a class – it’s a slow infusion, hopefully with a bunch of aha moments along the way.
I could not be more proud to launch this into the world. It comes with a huge chunk of my heart and soul embedded right in there along with a holding hand for your own creative journey.
A guide to infusing creativity into your days, and your photography
If you’re looking to infuse more creative depth into your images this self paced course will help by digging into creative practices and guiding you to be more in tune to opportunities in your every day. You will feel more intuitive in your artistic vision with heightened awareness to layer richness into your photographic storytelling.
You’ll come away with:
• A deeper emotional understanding of what makes you tick creatively
• Insights to help intentionally ground your creativity
• Methods to kickstart paying attention to opportunities
• Techniques to slow down and notice
• Ideas to infuse creativity into everyday photos
• Thoughts on how to allow your artistic journey to naturally evolve
This course is for you if:
• You understand the basics of photography but want to take your creativity up a level
• You want to think less about the technical aspects of photography
• You want to be more thoughtful in your creative processes
• You want to notice more creativity in your daily routine
• You need a creative boost to get you out of a rut
• You want to add more creative depth, emotion and vision to your storytelling
What’s in your online classroom:
• A 100 + page PDF with thoughts and techniques for infusing more creativity into your everyday routines
• 3 videos that discuss living a creative life and bringing depth to your photos
• A series of behind the scenes videos showing Kirsty documenting life creatively in different environments and lighting
• A series of videos talking through photos where different creative techniques have been used to enhance the story being told – through compositional elements, lighting and creative techniques
• 2 creative meditations to help slow down your mind and tune in to your creativity
• A stunning printable creative exercise book to help you journal on creative ideas
• A PDF of creative projects to inspire you
There are personal notes spaced throughout to share experiences. There are exercises to grow your creativity. And throughout there’s my hand on your shoulder, nudging you along, deeper into your creativity. Some days it can be a struggle, I know. The last 2 years have been rough and have sucked the drive to document our everyday from us, but this is the time to rise up, to embrace our creativity again and not let it slip through the cracks.
I can’t wait to have you join me,
much love, Kirsty xx
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Immortalised in Music
‘Blimey!’ I hear some of you exclaim. ‘I thought you’d blogged-off this mortal coil like that William Barker fellow who has ‘gone for the long rest’.’ Not just yet, mate – there’s life in the old blog yet!
A little while back (OK, OK, it was October last year) I wrote about Ali the zurna maker who intrigued and then delighted us with his enthusiasm for his craft. Well, J and I decided that we’d buy one of his beautiful creations to send as a gift to renowned saxophonist John Surman. John had seen the original post and had commented how much he appreciated craftsmen-performers like Ali who were indeed a dying breed. Some of you will know from previous postings that JS is family.
not these two – we chose one of pear wood the other I can’t recall
Anyway, in the end we bought two of Ali’s zurnas, which delighted him no end. It also delighted us because we know how much these things cost in places like Istanbul and Ali’s ‘country craftsman’ asking price was the reason we settled for two. J explained to Ali that his masterpieces were to be shipped to Norway where JS lives. A fair degree of lip-pursing and teeth-sucking ensued. ‘Well,’ exclaimed Ali, ‘hmm! I won’t be able to go there to fix up his reeds when he needs new ones.’ And he started to rummage about in his bags and tins of bits and bobs. He made up a kit of parts and spares (even down to little squares of sandpaper) that was to be sent with the zurnas. Then there followed a master class in reed making for us so that we could enclose written instruction to complete the kit.
Everything was packaged and eventually arrived, intact, with JS in Norway. To say he was delighted would be an understatement. So delighted, in fact, that he promised to write and play a piece with the zurna dedicated to Ali and all that he represents.
Below is that piece, played by John on one of Ali’s zurnas. He called it ‘A Song for Ali’s Zurna’. It is beautiful, haunting and very John Surman.
When lock-down here in Turkey is eased we’ll make sure that Ali gets copies of this and more information about who JS is and his standing in the musical world. Ali’s world is centred around a few villages up here in the mountains so I think he’s going to be amazed and delighted – how about you?
Alan, happy to be locked-down up here!
A Dying Breed
A few days ago a mysterious car parked at the bottom of our cabin ‘drive’ and a somewhat furtive individual got out. He asked us mysterious questions about ‘a man on the beach’ all the time glancing about and gazing towards the horizon and never quite meeting our eye before he went shuffling off along the track.
J and I glanced at each other, shrugged, and carried on with our hoeing and pruning. Shortly there came the sounds of a chain saw and then this shifty individual came scurrying back clutching smallish logs of tree trunk. He called us over to his car where he recovered a log from its hiding place under a rug and proceeded to apply a tape measure to it whilst rabbiting on at pace as he continued to peer around in his shifty, furtive manner.
Eventually he sussed that we were perplexed and ferreted out a shopping bag that had half a dozen zournas in it. From here on our interest mounted and once he slowed down his garbled delivery we realised that he actually made these instruments at his home in our local village.
We explained to him that we loved the raucous sound of these primitive, double reeded, instruments. They have a sound that you can actually feel in your gut and in the hands of a master they can carry you to mysterious, wild, unimagined places.
Zournas are spread across North Africa, Eurasia and as far as China, Korea and Japan. Wherever is found the common reed (as here at Salda) you will find the zourna or a variation of it. It is the double reed that produces the powerful, gut-rumbling sound that is so evocative.
fancy modern oboe reeds
traditional Turkish zourna reed
As folk instruments they have been around for a very long time – here’s one from the museum at Persepolis that’s dated from about five thousand years BCE.
Anyway, Ali (for that was his name) began to feel more relaxed with us and became less furtive. As he was leaving he said something that sort-of translated to ‘you are invisible’! What he wanted to say was that, as cutting trees is illegal even for making zournas, that we hadn’t seen him. We, being natural-born anarchists/rebels against petty ‘jobsworths‘ and their ilk, readily agreed.
What was really nice was that this morning Ali turned up to show us what he had made from the wood he’d garnered the day we didn’t see him. He also delivered an impromptu demo as he explained the different keys, different parts and different woods – how nice was that!
So, here he is – our mysterious and furtive visitor:
A dying breed? Yes, because traditional craftsmen like Ali, who create whatever it is they make for their own pleasure or the pleasure of other locals and not for some pseudo-authentic tourism market or to decorate the wall of some moneyed townie looking for plastic connections to a lost past, are fast fading away.
Power to your elbow Ali – if we both live long enough then I’m bequeathing my, by then, ancient fruit trees to you so that you can breathe new life into them and they can continue to rumble many a gut!
Alan in Payamlı (Almondy).
Durul Bakan – Artiste Extraordinaire
Durul Bakan is indeed an extraordinary artist-sculptor. J and I first stumbled, quite literally, across his work some little while back on one of our regular trips to the Lisinia Project. Outside the barn a huge, graceful eagle was under construction from bits and bobs of Ardıç/Juniper trees. We were stunned at the power of the piece.
Of the sculptor there was no sign but by the time we made our next visit the magnificent finished piece was in place to greet us as we drove through the entrance to the project.
With each new visit, either by ourselves or with family or friends, astonishingly beautiful additions had been made to the menagerie. From a Eurasian Lynx to a magnificent Ibex (wild goat) to . .
Eurasian Lynx
In the past couple of weeks we’ve had the pleasure of having, first, Numero Uno Daughter Anita and then dear friend Ahmet and his wife Muge for visits. The Lisinia Project is a must-do visit and so it was that on the last call-in I was delighted to find the artist Durul Bakan busy at work on a new piece. We have only ever interacted via social media so getting this chance to press the flesh and look each other in the eye was a real bonus.
The new piece was intriguing because it looked a bit like a giant horse with a mouth full of tiger’s teeth! Questions were soon being answered with the aid of technology.
Apparently, back in seventeen hundred and something or other, a lone Frenchman was wandering about in the general area. He claimed to have seen this monstrous creature with his own eyes and drew a picture.
The guy’s name was Paul Lucas and he wrote a lot of books in his time. Personally I think he’d been on the rakı because he described the creature as a giant ‘hyena’ and called it Datura stramonium, which was all a bit of wishful thinking because no-one had ever seen it before and no-one has seen it since. Until now that is because it is being resurrected under the hands of Durul Bey – I can tell you that J and I are really looking forward to our next visit.
explaining the improbable
Durul then insisted on dropping everything to give our party an escorted trip around the project. Recently the project has been expanding its facilities to provide exhibition space and visitor area where healthy food, drinks and the projects wonderful organic products can be purchased to support the whole caboodle. Waiting to take pride of place are many of Durul’s latest creations. The way the pieces of wood are chosen to follow and mimic the muscle structure of each creature is uncanny – a bit of imagination (or a glass or two with lunch) could have you believing that at any moment they’ll spring into motion.
J with deer and shark
complete with all his accoutrements – the detail is amazing
So, there you have just a small sample of this amazing artist and his amazing creations – a taster that I hope will encourage you to visit and support the Lisinia Project. As for me, I’m dreaming of commissioning Durul to create something that would look great atop the cairn in our garden hide-away.
Now that really would be something to write home about!
Alan up in the mountains.
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Top Benefits Of Purchasing Handmade Jewelry And Art
When in the market for jewelry or art, there is no doubt that you will have some options. There are mass-produced jewelry pieces and artwork in the market for one to choose from. However, when you prefer purchasing and owning unique pieces, you have the ideal option in the form of handmade jewelry and art. The personal attention, as well as the love that artisans and artists permeate into their work, is evident in the masterpieces that they develop. However, most people are yet to understand the value and worth of the handmade pieces when compared to their mass-produced counterparts. There plenty of reasons why you need to choose handmade art or jewelry instead of mass-produced pieces. Keep reading this post to learn some of the benefits.
One of the best reasons to choose handmade pieces of art or jewelry is the fact that they are environmentally friendly. By definition, handcrafted art pieces and jewelry are made by the hands of the artisan or artist. In the case of jewelry, the pieces are sawed, soldered, shaped, and carved without the use of manufacturing machinery. Manufacturing machinery is known to emit harmful chemicals during the production of mass-produced jewelry pieces. When one is keen to play a part in conserving our planet, they need to make the right choice and purchase handmade art and jewelry. The fact that there is no machinery involved means that one ends up with a unique piece of art or jewelry that has taken an incredible amount of time for the artists and artisans to create. The makers usually have an exceptional connection with each piece or design that they choose to design.
The materials used to make handmade jewelry and art pieces are also one of the best reasons to choose them. In almost every case, the value of the materials used in making a handmade piece is of stellar quality. It is challenging to regulate the materials that are used to make jewelry in the case of mass production. One might not even know the alloys used to create the pieces, and at times, dirty metals can be blended together to develop the costume pieces. This is not the case with handmade jewelry, considering that the materials used are generally purchased from highly trustworthy suppliers, and this means that you will obtain pieces that will last for many years. The best artists and artisans only source their materials from suppliers with whom they share an ethos, and this helps maintain high-quality for their art or jewelry pieces.
The best part about purchasing handmade art and jewelry pieces is the quality of the products that one ends up purchasing. Smaller-scale production of jewelry and art is almost always high quality, considering that the artists and makers can monitor and manage the process from start to finish. The artists and makers are incredibly proud of their work, and they are unlikely to sell a product with inferior quality.
Short Course on – What You Should Know
Doing The Right Way
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Apple selling $200 book that celebrates product design
Apple announced on Tuesday that it’s now selling a book titled Designed by Apple in California, a phrase stamped on many of the company’s products. The book “celebrates” 20 years of Apple design and is dedicated to the memory of Steve Jobs.
“‘Designed by Apple in California,’ which covers products from 1998’s iMac to 2015’s Apple Pencil, also documents the materials and techniques used by Apple’s design team over two decades of innovation,” Apple said, noting that more than 450 of its iconic products are photographed in the book.
“This archive is intended to be a gentle gathering of many of the products the team has designed over the years,” Apple’s head of design Jony Ive said. “We hope it brings some understanding to how and why they exist, while serving as a resource for students of all design disciplines.”
A very expensive Apple book
There are small and large versions that sell for $199 and $299, respectively. They’ll launch in stores beginning tomorrow, including many of Apple’s flagship locations. The book is certainly not for everyone, only the strongest of Apple fans and folks interested in design and what Apple has done in the space. The pricing seems a little bizarre to me, I can’t figure out why it costs at least $200, but perhaps Apple is trying to make this a limited edition product.
Article source: http://www.technobuffalo.com/2016/11/15/apple-design-book/
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Friday, June 30, 2006
Did I warn you that I have the occasional dark mood? Damn. Last night's post was heavier than an anvil atop a crate of eggs. That previous sentence is a 'Dina-ism' according to Demi. You met her in a previous post. She's the poet hiding out as a school administrator. So. She's in San Francisco visiting her friend Michelle who pays more for renting her loft than most of us do for a mortgage. She calls wanting my infinite guidance. And some of my twisted brand of humour. Demi is angsting over a brief encounter way in her past, why she never got closure and I gave her several more Dinaisms. Here are a few:
• Honey, you chewed all the goody out of that piece of gum. It's time to take it out of your mouth and stick it under the bench.
• Processing a failed relationship is like ironing a shirt - you press the collar, then the sleeves, the plackets, then the fronts and finally, the back. It's a process. When it's smooth, you're done.
• Replace the name of the suspect with the word 'daddy'. That will give you a lot more insight into the relationship than trying to figure out why you never got a call.
I have lots of Dinaisms. It's my love of words. I collect them. You already have a pretty good guess that I feel the human experience needs to be chronicled much more richly than a mere four or five words can service it. I love blending them. I love weaving metaphors, making old meanings into something more. I love to stretch their definitions into something more than mere serviceable. There's the thrill of using them out of context and watching the expressions on people's faces when it hits home. I want words to be all that they can be in the army of life. Because life deserves being painted into something that anyone merely reading about it can understand from a sparse sentence. If you weren't there for the experience, how else can I tell you about all the shades and nuances, the depth of the pain, the little looks in the dance experience that says more than it was a 'good ballet'?
How can we ever tell someone about the depth of our grief, our disappointments, our cringe moments if we don't paint with words? The listener wasn't there to hear the sentence that twisted like a knife after the setup that promised something - an outcome radically different than the one that we had. "He told me he needed his space," stirs one vision.
But when you have some setup details like, "We have just finished making the most exquisite, delightful love after the beautiful dinner he cooked. He had the table set perfectly, too! He sent me the most beautiful roses earlier in the day with this sweet little note. We're lying there in the candlelight, drinking champagne he had chilled. He smoothes my hair and kisses me on top of my head. Then, he murmurs into my ear, 'I think I need some time away from you. I need some space. I'm feeling pressured to make the relationship more permanent by you' ."
See. Now you get it. Now you feel the shock and disbelief. You see that there was this hugely inappropriate setup bordering on passive aggressive behaviour that came from left field. You know the sting of the words I heard. You now feel the panic and disorientation and confusion about what to do or say next. You feel the shame and the guilt. Start thinking about what I did wrong when there was nothing I did that was not out of line with the romancing that has taken place. Up until now. So when you use your own 'isms' in your word paintings, you are being real for that person, really sharing the experience the way that it happened.
Communication is one grand tool we have in our arsenal. It took centuries for us to walk upright and our skulls to shift back on our backbone allowing the intricate development of vocal chords and the ability to speak with one another. Don't we owe it to the further evolution of speech to squeeze the shit out of every word that we utter?
Now. That doesn't mean that some crap comes out of my mouth. I hear/read words I've uttered and scratch my head at the devolution I've committed. But it's part of the process, part of taking small, wobbly drunk, first baby steps towards truly getting IT right.
When we were first gifted with speech, anthropology linguists believe that our first stabs were small, guttural utterances. Over time we began naming things and stringing words together. Then came sentences, paragraphs, storytelling, writing accounts, wills, letters, novels.
Writing to me is a process akin to other creative endeavors. You draw stick figures, start giving them expressions, learn color and perspective and composition. Then you paint Guernica.
Thursday, June 29, 2006
I promise you are going to see poetry and short story writing and jewelry soon! Right now, I'm glamoured by the visual world of painted creativity. Robin Janning sent me a link to a painting she said was inspired by me reviewing her work here on DWJ. I'm humbled! It's called, A Touch Of Kindness. Do you see the heart of it?
Aren't all our interactions with one friend to another acts of kindness? I'm not talking about the mean way we may respond to someone who cuts us off in traffic, or the way that we respond to a sales clerk who acts as if we aren't there at their counter with them doing a huge favor to acknowledge our free will to buy there, or to say fuck you. I mean that we treasure our friends because we chose them and they reciprocated and chose us back. You deal with a birth family because that's your karma. Your birth family usually introduces you to the big lesson you're supposed to matriculate in here in this life. Like with mine.
I get that my life lesson has a lot to do with abandonment and dealing with it. Like the fear of being left at the Fun Lan Drive-In when was a kid searching for my family's car in all the othersafter going to the bathroom at the snack stand and just having this gnawing in the pit of my stomach that they have driven off and left me because I was so very different from the rest of them and not finding the car until just about every one else has left. Like Matilda. Okay. Psychoanalyze the shit out of this if you will, but consider. I am the only living survivor of my family of four.
Two died of terrible disease and one of murder most foul. This is the ultimate abandonment. You cannot hunt up the perpetrators like you do a bad boyfriend and give him what for after leaving and not giving a reason other than he's got a need to find himself and needs some space. There's no checker on the square to mark passive-aggressive behaviour. You cannot write a letter notifying him of your discontent and indignation. Not a whit of piety can call back any of the things that they said/you said. There is no asking questions about this part of family story that could be answered, no calling to task for past or future transgressions. No future good times.
Whatever your birth family teaches you as major lesson will come foaming forth in all of your other relationships. Mine is with husbands and lovers who leave me by death, to be with another woman that is more than or younger than me, a child who feels I have outlived my purpose. Yes. This is all whiney pooh drivel. But I make a point here.
What is your big life lesson? Does your sanguine family mirror that which happens in your other relationships? Do you choose friends who do the opposite of what your birth family showed you? Are you nourished by their acknowledgement and friendship in some way? Now. Here's the good side of the coin.
We get to choose. We select our friends. We get to pick out those we want as our spirit family and we get to treat them how we want reciprocated to us. I still have my first friend. Our relationship is 52 years old and I can pick up the phone to call D.J. and not have to explain my history. My 'newer' friends are like this, too. I have durations of 39, 20, 18 years in my friendships because of what I've learned about abandonment. I've learned to treasure the sustainable family. I choose them carefully. You have to nourish and cultivate friends the same way you do a garden. There are flowers and plants that seem rare and exotic but just don't play nice with the others in your plot. So you prune them out. Ah. But the ones who are left are delightful! They deserve all your attention and energy when they need it.
On these you heap praise, love, and acts of kindness - just like Robin's painting. I think that we are lucky to be able to choose and nurture our friends in whatever stage our relationships. This is honorable. Whether new and green or old and venerable, dependable as the sun.
And just one more, or maybe two more things before I go to bed: I'm picking up Sable this morning at 10:30 a.m. from her foray to Atlanta. Phyllis McEwen is Sable, her Right Bank Poets, Artists and Writers Group and Ladies' Tea and Terrorist Society name - Mine is Thelma, Martha is Louise. There is no exposure in telling you this. They are all loving names given to my friends. Other women have other names.
We're going to Peace House for our Friday night bash. I'm going to get Tary and Karole in line for a blog, a website and someplace to sell their jewelry art. So. I'm taking my wonderful little Sony Cybershot, the buss port and the disk that goes with it. I want them to photgraph their jewelry so you can see it. See. If I can show you the wonderful things that they make to adorn Us, you'll have to have them!
Listen. I'm in love with women's art. I'm not hearing from you so I'm going to publish the old stuff from the past issue hard-copies of Deepwater Journal. Maybe if you see that the authors are 11 year olds, nurses, housewives and born again Cherokee women, you'll submit. There are NO turn downs!! No kitchie boards where the judges vote for their faves. Where are your stories? Where is your art? Where are your words? Where are YOU???
Okay. To that end, Marty suggested that I get another blog to log on the word heavy short stories and poetry like The Ballad Of Darlahood which flames over several pages and authored by my Goth Otherchile, Darla. And Phyllis' Bad Ass Women Walking On The Planet Now. There's also text heavy short stories I wrote called, Jimmy Names The Cat, Dreamsong For a Cracker House, and Daddy's Coalesscence. And then there's Annie Shanahan's story about her moma's kitchen. So I think that I'll do that extra blogsite so that the words can go in uncensored. Get up off the floor. Send me your work! Don't lurk-create!!
Wednesday, June 28, 2006
And go to see the wonderful links at C. Robin Jannings site!! I've become a shameless blog hussy and love the blitz!! Go here. Listen. This is what it's about. We need to promote each other because there aren't ever enough Gurilla Gurls to go around!
All of us need to rattle the windows of the Establishment because the Great Established THEY will never look out!
By Hestia's skirts! I think I finally got how to get over the blip that wouldn't let me load Robin's paintings! You should see Caves of Mt. Carmel on the previous blog entry! And The Still Place with it's grand swirls of lavender and indigo below in another post. Ain't they wonderful? Here's what happened.
I owe it all to George, the cat I inherited after my mother passed. This is Zen, ya'll. She (that's George, not my mom) ferreted out the stash of whole herbs I have and pinched the bag of catnip like it was a 6 month old mouse. She chewed through it, rolled herself a joint kitty style. Afterwards, she did a Tai Chi kata, contemplated her pink toes, did some yoga moves and had a nap. When she woke up, she went on patrol outside.
So. I drank several glasses of a passable California Cab Sav, contemplated my navel, sketched some new designs, then had a nap. When I woke up, I made another stab at the html for loading images and it worked!
I sent off a box of ritual gowns to friend Peggy Hamilton in Virginia. She's opening her store Mugwort and Malachite. The website is still under construction but I'll leave the link up. She'll get around to finishing it.
I sent her six gowns to choose from. She says that her problem is that most of my gowns will never make it to the rack and will end up in her closet. That's as it should be. Everything I make, I ask the three Norns- the Wyrd Sisters - and the Goddess Arachne to see that it gets to the one who's supposed to wear it. I sent her a black gown with back lacing and 14" foullard styled ruffles off of the fitted sleeves from wrist to elbow, a lavender blue with lacing over the hips and Swarovski crystals on the hem, and a rubis red gown with metal rings to lace on four sides, a heart and moon cut out on the wrists above a tippet sleeve and a carved cinnabar ring on the train loop to drape over the wrist.
There was also a peacock teal and tapestry cuffed and frontespiece gown, a saffron gold silk and rayon blend gown with silk trimming in dark navy and old gold lozenges that reminds me of the gown in Vermeer's Girl With The Pearl Earring. I also sent a tunic length of the same silk/rayon with silk trim for those not ready to take a full length with a court train plunge.
Also gone out today is an 1860 replica gown from the American Civil War. I draped the pattern on my mannequin and am pleased with it, although there are some alterations I need to make. More of a pointed waist called a 'Grecian' back in the Day is needed and I'm not necessarily pleased about the way the sleeve joins the armscye. I will use this pattern to fashion a black and red gown for a Vampire Ball in New Orleans this Fall per a request.
I no longer or very rarely take commissions. After 40 plus years in the business, I've developed an allergy to prima donas, bridezillas, and picayune purchasers. Now I just build it. If you like it, buy it. I'm too damn farty and mature to put up with idiots that want my work at a dollar two ninety-eight an hour. I have more hours of learning my craft than a brain surgeon so I won't accept peanuts. I hope all of you value your time and your creative work accordingly. This is my message for tonight.
Sunday, June 25, 2006
Let's try this. You know that I've asked for women's words and women's works for Deepwater Journal. Robin has granted permission to include two of her amazing paintings and a statement for me. I'll wrangle with getting the images on. When I tried early this morning/last night, the function wasn't cooperating.
This is Robin's choice of her work. It's titled 'Caves Of Mount Carmel', 40" X 30" mixed media on canvas. I've chosen one that sighs at me like a siren's call titled The Still Place and will post it later. And well, hell. Wouldn't you know that I'm still having labor pains trying to upload 'Caves'. I'll get around it by putting a direct link so you can see it here. But I want the visuals on Deepwater as well because I want us pretty and will keep knocking at it. This is what Robin has to say about her work:
"For me, making Art is about the acknowledgement of holiness present in each moment. Abstract art-line and color that hints rather than insists-allows the expansion or the restriction of physical boundaries to surround, to permeate the Spirit of each moment.Art is the transformation of thought or emotion-an opportunity for growth. It is active participation in the reality of Spirit's presence-the Gathering & Reflecting of Each Thing. As such, art documents both the mile and the milestone of life inexorably pulled by Spirit."
She also talked about her Goddess muses and her life in the note to me. I have decided that we could all hang out with this woman and be enriched by it.
Saturday, June 24, 2006
One more thing before I go to bed is this. I recieved a comment from an incredibly prolific artist!! C. Robin Janning is just this amazingly profound woman! Her art is lyrical, lulling and then in-your-face! You HAVE to see her work!! Please go look! Her colors and textures are tumultuous and yet calm. This is what I'm talking about when I say 'woman's voice'. She's a mix of strength and softness. Ms. Janning has captured this sentient voice plus de monde! And you gotta see her digital diary with the zen photographs!! Okay. Here's her link if I can get it to work right.
If I'm on target, this woman will be one to watch in the art world! And maybe she'll consent to a view of what she's doing creatively for Deepwater Journal. I'd be honored!! See Robin here. This is a painting of hers called The Still Place. I am drawn to it because of it's rhythm, the spiraling view of the Cosmic Cotillion that is life. And I love the cool lavender blues juxtaposed against the sexy orange-red!
People. I will post more after I have recovered!! It was hot and sticky as sex at the Square Foot show. The art was just amazing but you couldn't get more than a moment's view of it for all the people. Air was scarce and space to walk and stand rare. Where did all these art lovers come from?!?? In Tampa? You should see some of the submissions - extraordinary, what I could see of them!
I chatted with the live nude model as she was being body painted - a true happening and checked in on her progress over the evening. But I have to admit that I retreated to the air conditioning of the car with our retinue. Old means never having to say you're sorry.
We three came home and read poetry. That is, Demi and Phyllis read their poetry and I collapsed in a chair. This art show stuff is hard!! Be brave and dilligent. Sometimes art is a challenge meant only for the warrior!
Friday, June 23, 2006
Tonight is another of Martha's openings. I'm going with bells on. This is an image from the show called "Tangerine Dream". It should play for about 3 weeks but the opening is tonight. Wine and cheese and all that. It's called The Square Foot Show and benefits a local shelter, Alpha House. Martha joins about 100 artists from around the world who were given 12" X 12" blank canvases and told to do what they do. It starts at the Lyssa Morgan Gallery on Henderson Blvd at 6:00 p.m. Phyllis is going too, along with some of our friends. You've been introduced to Phyllis and her outsider art already.
Demi Wilson will be there. She's a poet camoflaged as a School Administrator. That's "Principal Wilson" for those of us who had visits to these all-powerful folks in our tempetuous youths. I was a frequent flyer. I never could shut up.
I adopted Demi in a class at the University of South Florida titled Third-World Women Writers and we took several more together exploring women's voice with some damn fine professors. I encouraged her to come out about her poetry, networked her where I could, prodded her to perform her work in public. She adopted me as a second mother in return. I like that about her. It appeals to my Cancer sun sign. I'll share some of her work with you. It's raw and edgy and pulls no punches. You can taste a sampling of who she is here.
Tary and Karole Peace will be there, too. We love the women of Peace House. Tary is a poet - you'll find some of her work in the Deepwater Journal as I publish both old and new issues, makes the most bitchin' glass beads and lampwork you have ever seen, and sings like an angel with a voice that should have been famous. I met two Tary/Terrys when we moved back to Florida almost 20 years ago. I always differentiated between the two by saying 'beautiful Tary'. Everyone knew who I was talking about with her red hair and startling eyes.
Karole Peace is a jewelery artist who makes extraordinary peices using some of Tary's original beads: Necklaces that glitter with imagination, brooches that feature outrageously jewelled and wire-wrapped tiny women, earrings that ring of glass and silver, bracelets that embrace your wrist like history. Karole is also my spirit mother. If you ever wanted to see the Goddess Gaia walking, it is Karole with her black and silver hair and beautiful face.
Tary's daughter is Angelina Gualiardo and she is a model, artist, musician, song writer and all around wonder. You can see her modeling some of my past creations on my website Deepwater Trading Company in the gallery. She's the tawny blond creature who looks like she was plucked out of a Renaissance painting in all the dramatic shots. She is also a denizen of Peace House.
I've invited the two Nunnery women to come as well. These are Paula and Darla. Darla is an artist who studied in Paris after her obligatory stint at school. She teaches art to students of all ages. She's my punk Diva Other Chile and I'm her Othermother. We hang together sometimes going to trendy young venues. She wears black, with her silver-spiked Doc Martens high top boots and I wear my Florida Cracker Lady camo duds. She puts out an occaisional 'Zine featuring Gothic images, radical views on virginity, art and poetry. She's also a renowned henna artist with her Starlight Menhndi Studios. The local Indian gentry hire her for their traditional weddings. She's that good.
Mother Paula is a certified legal assistant and also certified in Florida law. She has a doctorate in history, writes, and is President or main wahzoo for whatever local legal conclaves and a few state level ones as well as teaching seminars for other CLAs and attorneys. Both women are decended from French royalty, are genteel Southern to the core and are perfectly charming, even when they cuss you out for a transgression.
I adopted Paula and Darla as sisters when they attended a lecture on ancient Goddesses presented at my house. The presenter was Willow LaMonte. Willow publishes an international newspaper/magazine on all things Goddess called Goddessing.
See. I'm trying to introduce you all to my posse'. These are the women I hang with, who inspire me. I want you to look at all your friends in a creative light as well. We all have a muse that gifts us with special talents. While we may 'be' a housewife, lawyer, banker or teacher, there is always something that we do well that makes us soar. It can be baking the perfect apple cake and writing about the Swedish mother who shared the recipie with us. It could be inspiration that we find when we go back and read our personal journals. Share yours.
Thursday, June 22, 2006
Lives roll on like a river. A number of years ago, I published an all-women's words journal to give voice to the unique experience forgotten in so much of our contemporary literature. I am continually asked what happened to it. I am resurrecting that journal now in this blog.
The journal reflected women's experiences not taught in the rigid halls of academia, the rightgeous big works of European ateliers, the rarefied few who made the grade to have their work be published, judged by some board to be worthy. I solicited real women's voices, their stories and hardships, their joys and sorrows.
I collect stories like people. Recipes, remembrances of cooking in a Chicago kitchen during the 50s, loves lost, an artist's foray into poetry, a girl child's story about a science experiment. So.
Send me your words, your stories, your poetry, your art, and I will give it a forum here at Deepwater Journal. "Is it good enough"? is not the issue here. Will never be the focus.
This first image contributed is titled "Familiar Passage" by American artist Martha Marshall. It is featured in her current show at Corporate Canvas Gallery in Wilmington, North Carolina through June 30, 2006. The opening reception featured a 12- piece chamber orchestra and was attended by some 100 art patrons.
Don't let the word "Corporate" scare you. Martha is an International class abstract artist and friend who salved my soul in the world of administrative assistants and who emerged from the academic world with her own voice intact. She earned her stripes. Martha's work is a composite, a whole. A delightful poet, insightful writer, and world's best sister friend. As an Alabamian home girl, she embraced big hair when it was in and remained real for the duration. Collect her work now. While you can afford it. She is important and will be more important still. For more information about Martha and her work, check out her blog.
I am honored to also feature in this inaugural issue of Deepwater Journal an enormously talented friend, poet, performance artist, and visionary artist Phyllis McEwen, who has just introduced her own blog titled "Don't Get Me Started." Phyllis' incredible poetry stabs through your heart and soul with a honey-laden knife. She portrays folklorist and writer Zora Neale Hurston throughout the United States in the Road Scholars Program sponsored by the Florida Humanities Council. I'm honored to have costumed her character in genuine Blue Goddess garb, lo, these many years, and more honored still to have watched her transform into the real Zora.
I'm introducing her outsider art here, this piece titled "Blondie and Me," a self portrait of Phyllis with her beloved cat Blondie, who lives on in spirit. This piece is ink on paper, 9 x 11, and is available for purchase as a giclee print. I have dibs on the original because I experienced Blondie's healing, unconditional love and burgeoning worldliness and this piece moves me.
Phyllis is emergent from the cocoon of creativity. Oshun directed her and continues to bless. Collect her art now because she is the next African-American Vera and because her art is forward.
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10+ Club Flyer free psd template
Club Flyer Templates As An Effective Way for Promotion
When you want to promote your club or organization just to get more members and guests, the club flyer can be a good idea to be applied. Yes, the club flyer templates deliver some special documents to help you in promotion with a stunning look and interesting detail.
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On another hand, using the template of the club flyer is also helpful. The template provides some default schemes that will lead you to make a good promotion document. It means you do not need to make it from a blank document just edit the default information there.
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However, to maximize the result in making the club flyer, of course, you need to know some matters about it. Here, we will talk about the club flyer and its details.
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However, a flyer also has some disadvantages to know. A flyer is easily dismissed by the readers and the targets. That is why this promotion document should have an interesting view to interest the readers.
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When you want to make a good club flyer, there is some information that you need to write there. Of course, the detailed information will make the readers know about your club and it will gain their interest.
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A flyer should consist of the name of your club or organization. Write the name clearly and complete it with some personal information, such as an address, phone number, and others.
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There are also some tips to maximize the result when you want to make a good club flyer. Using an interesting design is a must. Since this document is used to promote, the design will influence the interest level of the target.
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Club Flyer Template Sample
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Pakko De La Torre // Creative Director
Fine art and AI bring to life dozens of pioneers in a stunning Pionauts NFT collection – Irish Tech News
A few of the most brilliant AI minds globally and some of the best artists from nine countries came together months ago to bring back to life 150 of the world’s top historical pioneers in a unique NFT collectible series called the Pionauts that will have awesome utility for its holders.
In creating them, the Pionauts team reimagined the NFT space by fusing digital art and advanced AI technology and telling a new story.
The Pionauts is a rare NFT collection that incorporates art juxtaposing by using historical figures, bringing them into the modern age, and launching them into the future as pioneering astronauts.
The Pionauts takes those who choose to collect them on a journey from the past through to the future in an unprecedented opportunity to hold these rare collectibles that come with ongoing royalties from future comics, games, brand partnerships, educational programs and movies. All these medium and long-term projects are already in the exploration stages.
Applying Deep Learning technology and months of manual retouching, a collection of 8,500 unique variations has been created with modified characteristics such as age, facial features and expressions. They gave the Pionauts natural movement on MP4.
Pionaut collectors also get access to a free JPG of their NFT to print out as posters. They come in an unusually high resolution of 3000×3000 pixels.
The dozens of pioneers brought back to life include William Shakespeare, Nefertiti, Napoleon, Aristotle, Charles Darwin, Joan de Arc, Cleopatra, Julius Caesar, Albert Einstein, Vincent van Gogh, Ludwig van Beethoven, Mozart, and Nelson Mandela.
In consultation with the growing community, the Pionauts team decided to create 50% male and 50% female pioneers.
The Pionauts collection is digital art created for the collector to connect with emotionally. The goal was to make collectors feel like they know the Pionaut and that the historical figure is looking back at them as they contemplate this exceptional art form.
The team took the pioneers and transformed them into Pionauts, reimagining the future of NFT art and bridging the past to the future via AI.
Our technology brings our digital art to life. It is the convergence of art and technology. We’ve made history futuristic. We’ve brought historical figures to life and launched them into the future.
The convergence of art and technology
The evolution of art has gone through several phases and stages. We are now seeing the application of technology as part of that evolution. However, very few artists are pushing the boundaries and creating art using new technology applications, such as AI.
The Pionauts stand out from an industry of digital art and NFTs, currently one of the fastest-growing digital asset classes.
A Reuters report said sales of NFTs rose to $10.7 billion in the third quarter of 2021. That is more than eight times more than the previous quarter. NFTs use blockchain to record the ownership of digital items such as images, videos, collectibles, and even land in virtual worlds, and more, according to Reuters.
Pionauts are among very few recreated using authentic imagery fused with technology. The majority of the contemporary digital art created is flat, pixelated, cartoon-based, or computer-generated. There has been little to no innovation.
There is a need for more unique stories around NFTs – something that gives the collector the ability to connect on a deeper level, not just be an investment or a part of the newest craze.
An opportunity exists to deliver a narrative that pushes the boundaries of what art is, what art can physically do and what forms it can take.
That is what a team of two of the top-five AI professionals and artists set out to do several months ago.
The team behind Pionauts were able to take the pioneers and map them out to create lifelike modern-day people. They merged two different historical figures to see what they would look like via our technology.
Modifying the pioneers’ genes
The creators of Pionauts also modified the “genes” of their selected group of historic pioneers converting their age, facial features, and facial expressions.
“This is what William Shakespeare would look like if he had been younger or older. Our advanced ways of working allow us to create hi-res digital art that is so lifelike that if you were to zoom in on the painting background, you are able to see the ‘brush strokes’ as if painted by hand, and if you zoom in on the pioneer’s skin, you can see his skin texture and even his detailed pores.”
Digital NFT art has evolved, but technology has not been used to the degree that it could change the space. We hope to be the pioneers in pushing how people see and experience digital NFT art. Art can be so many things. We can change the conversation around NFT art with digitalization and advanced technologies and open up a new world to artists.
The unique Pionauts NFT collection launches on 28 April 2022
This content was originally published here.
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top of page
Signed lower right: George Thomas
Oil on Linen, 60 x 80cm / 26.5" x 34.5", Framed dimensions 67 x 87 cm / 39.5" x 26"
Macuxi Girls with Capybara
SKU: 36523641234523
• This was painted over a week long stay with the Macuxi people, in Northern Brazil. When I arrived at the home of the Macuxi it was the middle of the night. The darkness obscured the sun-scorched plains and rainforest covered mountains of the region and also led to a case of mistaken identity when this little friendly creature scurried over to greet me. Was it a wiry haired dog? In better light I realised it was a capybara, the largest rodent on earth!
The local girls pictured here had rescued the capybara from a nearby river where it had been abandoned at birth. Saved from being prey for alligators or jaguars, this capybara became domesticated and would be taken for daily baths in the nearby river.
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Lee Wilson is the creator of the ‘Accessible Means of Egress Icon’
Lee Wilson recently undertook extensive research whilst developing a guide to assist workplaces to manage their obligations to provide a safe work environment. The guide also helps to identify strategies to increase safe egress for people with disabilities, or with other emergent limitations during an emergency.
The design for the Accessible Means of Egress Icon was created late one night, whilst working on our computers and surrounded by research papers, piles of books, and scraps of papers with notations when an idea came.
Concept for accessible means of egress icon
From this idea, we developed an initial accessible exit sign design with the ‘Running Man‘ and a pictogram figure using a wheelchair, based on the ISO 7001 principles. This was quickly developed into the current design.
The use of accessible exit signs, adopting the Accessible Means of Egress Icon as an international standard would help address and close this gap.
Inclusive Design Approach
The introduction of the ‘Accessible Means of Egress Icon’ onto accessible exit signage changes the current discriminatory approach to exit signs in buildings and present a fully inclusive design.
Accessible Exit Sign Project Running Man Wheelchair Wheelie Man Symbol Accessible Means of Egress Icon Exit Sign 2
The Combined ‘Running Man’ and Accessible Means of Egress Icon are working together to escape the building. They move in unison. They display the same urgency and motion. They appear to be travelling at the same speed. This is an inclusive design.
A Sense of Movement and Motion
The heads on both figures are forward, showing their haste. Arms are extended and motioning back and forth as they move through the doorway. The Accessible Means of Egress Icon is consistent in design with the ‘Running Man’.
Consistent Approach
The Accessible Means of Egress Icon design is also consistent the figures shown within ISO 7001 and the ISO International Language of Graphical Symbols Booklet, including the ‘Running Man’.
Detail of Movement of Running Man and Wheelie Man
The wheelchair design also includes a hatched line in a similar approach to the proposed new access symbol developed by Sara Hendren & Brian Glenney, as part of the Accessible Icon Project being used in many areas now to identify accessible car parking spaces and building entrances.
Provision of the hatched line gives the image a sense of motion (and style), but more importantly allows the symbol to be used as a stencil for painting walls adjacent to accessible exit doors.
The Figures Dissected
The upper bodies are identical. Arms are extended in the same style. Legs are also the same style. Both Figures graphically represent the same message.
The Running Man and Wheelie Man Dissected
This website does not offer signage for sale. However, licenses are available for manufacturers to commercially produce signage using the designs shown on this website, including the use of the ‘Accessible Means of Egress Icon’.
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Home / Artists A-G / Adrion, Lucien
Lucien Adrion
Biography of Artist
French (1889-1953)
Lucien Adrion was born in Strasbourg, France in 1889 and died in Cologne 1953.
Post-Impressionist Lucien Adrion is considered an engraver, watercolourist and painter from the French school. He began his initial studies in Strasbourg as a draftsman. In 1907, at the age of 18, Lucien travelled to Paris to work for a large drafting company but changed his mind upon arrival. Rather than working for a large company, he decided to peruse his dreams of becoming an artist. Travelling as a “humeur vagabonde” Lucien decided to leave Paris for London, Munich and to Frankfurt
After the demobilization of Berlin, Lucien would study engraving under Franz Ritter von Struck (1863-1928), who was Marc Chagall's teacher
At the age of 30 Adrion retraced his steps to Frankfurt, where he began to produce signed lithographs, and from there he made his way back to Paris. Soon after his return he signed a contract with the dealer Chéron who staged his first one-man show in February 1921.
He acquired a studio in Montparnasse and began to associate with the young Eastern European painters such as Chaime Soutine, Krémegne and Kikoine who were coming to preside over the artistic community. In spite of his friendship with these young bloods of the avant-garde, Adrion swiftly made his reputation in orthodox manner as “le peintre des rues Parisiennes”. His fame rested on his ability to perfectly capture the bustle of crowds on the boulevards. Just when his future security seemed guaranteed the “humeur vagabonde” again came to the fore. He tore up his contract with Chéron and left Paris for the sunlit beaches of Normandy which immediately supplanted the streets of Paris as his favourite subject. These too soon proved just as popular. No longer under contract to exhibit with one gallery he found it necessary to show his paintings to as wide an audience as possible and so in 1926, at the age of 37, he made his exhibiting debut at the Salon des Indépendants. He continued to show his beach scenes there and from 1940 he also exhibited at the Salon d’Automne and at the Salon des Tuileries from the following year. He died in Paris in 1953.
An important retrospective of his works was held at a gallery in Cologne in March 1973 and this reinforced the importance of beach scenes among his oeuvre. These have proved the most commercially sought-after of his works for the past two decades, with a fine but by no means exceptional example selling at Sotheby’s New York in 2008 for over $100,000.
A Still Life of Chrysanthemums by
A Still Life of Chrysanthemums
Size: 32 x 24"
Oil on Canvas
Price: from £3000 to £5000
See more about A Still Life of Chrysanthemums
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Ode to Travel Author Patrick Trefz on Swell Season
Ode to Travel author Patrick Trefz’s inspiring interview for Swell Season Surf Radio.
Patrick Trefz is a multitalented individual known for his work as a photographer, chef, painter, and filmmaker. Trefz has gained recognition for his documentaries, including Thread, Idiosyncrasies, Surfer’s Blood, and Man in the Field, which have received acclaim and featured in various publications. In his latest project, Ode to Travel, Trefz’s explores the world mixing the metropolitan and the deeply rural by bringing food and culture together in this latest book of recipes and photography.
Ode to Travel captures Trefz’s innate ability as a traveler to become part of the scenes he finds himself in, not merely as an observer, but as a participant, connecting landscape, seascape, people and food. The book celebrates a worldview of a globe deeply layered and how cultures define communities in the form of its food, traditions and the simple pleasures that bring color to living. Ode to Travel includes thirty-five recipes from the places Trefz’s has come to know intimately. Each recipe that is included is an invitation to experience the local communities through their flavors and traditions.
This is his third title with Powerhouse Books, and Patrick Trefz is here with us at the Newsstand Studio at Rockefeller Center. We hope you enjoy…
Read more about the book HERE
Listen HERE
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Camerapedia Wiki
Belca Belfoca
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The Belfoca was a popular medium format folding camera for type No. 120 rollfilm, made by Belca and after 1957 made by Welta, and produced between c.1950-59.
With the presentation of the new Belca Belfoca II the basic belfoca is now called Belfoca I. It was similar to Belfoca but with slightly different struts. [1].
Made for 6x9cm images, it could be used with a mask for 6x6cm exposures. It had features that facilitated film load, exposure counting and closing the camera. The frame finder, the optional accessory brilliant finder and the shutter release button on top were further features to make this camera user-friendly. It was so popular that Feinmess in Freital started making camera lenses because other makers like Ludwig and Meyer had difficulties in supplying enough Meritar and Trioplan lenses. The camera was available with fast f4.5 lens or normal f6.3 lens. Shutter equipment was a multi-speed Tempor or Prontor-S shutter or a three-speed Binor or Junior shutter.
The waist level view finder has to have been optional because it is not very common on these more modern folding cameras. The Belfoca is more or less a copy of the Zeiss Nettar (515/2) but in spite of rather similar specifications the results are slightly inferior compared to the original.
After the WW2, the Dresden firm Balda stayed in east Germany and its name changed to Belca-Werk in 1951. It continued for some time to produce folders, and was absorbed into VEB Kamera-Werke Niedersedlitz in 1957. From that time Belca Belfoca cameras made by Welta, which was also a part of VEB-camera-Werke Niedersedlitz.
Notes and referencesEdit
1. McKeown's p.121
In English:
In Spanish:
In German:
In French:
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Saturday, 21 June 2008
The Uffizi and Botticelli
La Primavera by Sandro Botticelli (1445 - 1510)
This beautiful allegorical painting shows a garden with the Three Graces garlanded with flowers and the springtime wind Zephyrus chasing after Flora. The winged Genie, on the right of the painting is generally thought to be Zephyrus who chased and possessed the nymph Chloris and then married her giving her the ability to germinate flowers. Near to Chloris is the smiling figure clothed in flowers representing the transformation of Chloris into Flora, the Latin goddess of Spring; the woman in the centre is possible Venus and this is her garden. Above is Cupid, the blindfolded god of love. Finally, the youth with the traveller's hat, sword and winged sandals is certainly Mercury, herald of love and perhaps an emblem of knowledge.
The Birth of Venus by Sandro Botticelli (1445 - 1510)
This painting was found with the Primavera in a villa at Castello, the former property of Lorenzo Pierfrancesco de'Medici who died in 1505. Like the Primavera this work is representative of the most serene and graceful phase of Botticelli's art, linked to the neo-Platonic atmosphere of the age: we are shown the fusion of Spirit and Matter; the harmonious marriage of Idea and Nature.
During my all too brief visit last week to Florence (Firenze) "City of Flowers" I managed to fit in a visit to the Uffizi Gallery. Uffizi means Offices and the building was indeed once Offices - it is the most beautiful building within as well as without with painted ceilings and rooms decorated with mother of pearl. Plus it has breathtaking views of Florence's river Arno and the many stone bridges which cross it.
There was much to see in the centre of Florence - amazing white marble statues and astonishingly beautiful buildings. However, if I had to choose a highlight it would be these two paintings by Sandro Botticelli which hang next each other in the Uffizi Gallery.
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13/10/2020
AJ 100 ‘Disruptors’
This year, alongside the #AJ100 practices in the Architects Journal are 25 ‘Disruptors’. The AJ editors have included this great list to recognise that the status quo isn’t working to address the climate crisis. Our sector needs to change and that’s what the ‘disruptors’ are pioneering.
We’re very pleased to be part of this, alongside the likes of ACAN, Architecture 00, Black Females in Architecture, RESOLVE collective, Assemble, and a host of other inspirational teams.
Here’s what we said to the AJ:
Q In a nutshell, define your practice
Studio Bark is a small design practice based in east London. The practice is made up of three parts: Studio Bark (design), Studio Bark Projects (contracting) and U-Build (our not for profit self build company). We teach, we make and we innovate.
Q What do you do differently to more mainstream practices?
Underpinning all aspects of our work is a drive to explore new ways of practising architecture, by challenging outdated ideas about construction, education, and running a business. We increase our outreach by teaching, innovation, and joining movements which aim to bring positive change in our society.
Q Tell us about a current project/research that exemplifies this
We run a national study into Paragraph 79, a complex piece of planning policy which celebrates innovative, environmental and beautiful rural architecture. Through creating knowledge where none existed, we have carved-out a specialism for the practice, itself a springboard for new ideas and many interesting collaborations, including recently self-build.
Q What was the thinking behind your U-Build self-build system?
The design principles for U-Build came out of the desire to make construction affordable and truly self-build.. The ethos of the system centres on empowering individuals and communities to build their own homes and structures, unlocking social and economic benefits, with a focus on circular economy timber construction.
Q You’ve challenged the concept of sustainability ‘tokenism’ – what do you mean by this?
Perhaps a better word here is ‘greenwash‘, or the promotion of select green features in an otherwise ‘Business As Usual’ approach. Sustainable design has at long last become fashionable, and so of course the construction industry wants to be seen to be doing its bit. But being seen and actually doing are two different things.
Q The AJ100 celebrates the UK’s largest practices. How do you judge practice success?
Until such point as architecture stops ‘doing less harm’ and starts actually doing good, then scale is only ever going to be a multiplier of damage.
We are moving away from profit and growth mindset and instead want to value our success according to improvements in environment, society and studio culture.
Q What ambitions do you have for your practice?
The economist Kate Raworth’s Doughnut Economy model talks about earth’s ecological ceiling (outer ring) and social foundation (inner ring) and how sustainable practice sits within this doughnut structure. Our ambition is to be inside the doughnut. It sounds simple, but has deep-rooted implications that will make us work very hard.
Q How should the profession respond to the climate emergency – what needs to change?
There seems to be a great willingness to talk about the climate emergency, but the problem is that we all need to support ourselves financially and this gets in the way of our ability to act. So let’s rewrite our business plans and stop working on damaging projects or even those which ‘do less harm‘, and instead find work in ‘making things better‘.
Q You’ve been involved in architectural activism and XR – why is it important to get involved in this way? Is there a reluctance to do so in the profession?
We see many of the challenges faced by society and the environment as being systemic. If the current system does not permit us to respond adequately to the emergency, we must also change the system. If there is reluctance to do so, it is because this message is uncomfortable to hear. Our challenge is to operate within that state of discomfort.
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Search View Archive
James Ensor
Museum of Modern Art, June 28 – September 21, 2009
From time to time a special exhibit comes along that sheds light on an incredible artist whose work is long past due for fresh contemplation. Such a show is this, the first major retrospective in three decades of James Ensor (1860-1949), a singular if hard-to-define figure of the early European avant-garde. This selection of more than 125 paintings, drawings and prints presents an artist who quite consciously brought scholastic classical painting of the late 19th century through the paces of impressionism, fauvism, post-impressionism, symbolism and finally expressionism, sometimes with surrealist tendencies, and in the process influenced generations of artists, during his lifetime and after.
Room after room shows Ensor tackling every genre, every style, and every technique; in his own words, it was “like changing shirts.” His scale also fluctuated widely, from very large paintings and drawings to tiny prints and etchings.
James Ensor Belgian, “Self-Portrait with Masks,” 1899. Oil on canvas (120cmx80cm).
James Ensor Belgian, “Self-Portrait with Masks,” 1899. Oil on canvas (120cmx80cm).
After his studies at the Brussels Academy in his native Belgium, Ensor started out painting traditional subjects: landscapes, still lifes, portraits and interiors in deep, rich colors enlivened by subdued but vibrant light. Indeed, from the beginning, his innovative technique produced what the show’s curators call an “allegorical use of light.”
During the 1880s, his style changed to a mixture of symbolism and expressionism. He took his subject matter principally from holiday crowds, the tradition of Carnival and his family business—selling satirical and grotesque facemasks. Portraying individuals as clowns or skeletons, or replacing their faces with carnival masks, he represented humanity as stupid, smirking, vain and loathsome.
By the late 1880s, Ensor was drawing bizarre hybrids: insect-like creatures with human faces (“Peculiar Insects,” drypoint on Japan paper, an accidental precursor to Kafka’s protagonist in “Metamorphosis”) and a triple-head monster—bird on the left, wolf at mid-right, and frighteningly, devilishly human in the middle—in the painting “Tribulations of Saint Anthony” 1887. The rest of the canvas is filled with more unearthly characters along with abstract fields of pigment seemingly squeezed directly from the paint tube, a technique often used by Abstract Expressionists.
At age 28, he painted his most famous work, “Christ’s Entry Into Brussels,” a controversial piece that took on religion, politics and art while pointedly poking fun at “The Entry of Christ in Jerusalem” by 14th-century artist Pietro Lorenzetti. In this large painting, Ensor employed a system of perspective unmarked by points or lines, but registered by a layered arrangement that reduces the size of characters as they approach the horizon. Here, Christ is shown entering contemporary Brussels at the head of a Mardi Gras parade. In reaction to the concurrent French pointillist style, the artist used palette knives, spatulas and both ends of the brush to put down patches of color with unrestrained expressive freedom. (He also made several preparatory drawings for the painting that are shown here for the first time.)
Belgian society is depicted as a crude mob of grimacing, stupefied heads reveling in a demonic festival, a collective of threatening masks. The haloed Christ at the center of the turbulence is in part a self-portrait: mostly ignored, he is a precarious, isolated visionary amid the herd-like masses of modern society.
After being rejected by “Les Vingt,” the avant-garde artists’ association that Ensor had helped to found, the painting was not exhibited again publicly until 1929. But Ensor displayed “Christ’s Entry” prominently in his home and studio throughout his life. With its aggressive, painterly style that merges the public with the deeply personal, this work is a certain forerunner of expressionism.
By 1900, fine art was at a crossroads, just as Ensor was exploring the claustrophobic potential of interiors, specifically that of his own attic studio at his mother’s house, a domain of ghosts and dreams. “Skeleton in the Studio” (1900, oil on canvas) shows a grotesque collection of masks and skulls (some eating herrings) juxtaposed with a few domestic relics of the Christian faith.
Such work was extremely innovative for the time, but of course, Ensor did not live or create in a vacuum. He was praised by Emil Nolde and Paul Klee; his works were exhibited alongside those of Paul Cezanne, Paul Signac, Vincent Van Gogh; he was visited by Wassily Kandinsky.
A large drawing, ”The Bath at Ostend” (1890, black crayon on paper), presages the cartoonish-expressionistic style of the American/Romanian surrealist Saul Steinberg, who created many New Yorker magazine covers in the 1970s and ‘80s. In this particular piece, Ensor has some fun with the Belgian aristocracy and bourgeoisie that crowded the resort of Ostend, the summer residence of the royal Belgian family since 1835.
“Demons Tormenting Me” (1888, graphite and black chalk on paper) is my favorite drawing in the show. In this frontal self-portrait, the artist is surrounded by distorted, ghost-like faces and hideous monsters grabbing, poking and scratching him with their long claws.
Ensor’s color, violence, savagery and fantasy are familiar attributes of later art movements, particularly German expressionism and Belgian surrealism. In Surrealism and Painting (1965), Andre Breton cites Ensor, Felix Vallotton and German painter Emil Nolde as important forerunners of expressionism proper.
Although such a large show often resists logical organization, Ensor’s progression can be traced linearly thanks to an intrepid trio: Anna Swinbourne (assistant curator, Department of Painting and Sculpture, Museum of Modern Art), Susan M. Canning (professor of art history, College of New Rochelle) and Jane Panetta (Curatorial Assistant at MoMA). In conjunction with the retrospective, there is a 200-page color catalogue with essays by the curators and several art historians, affirming the visionary talents of this major avant-garde genius.
You can find more images from his exhibit at http://moma.org/jamesensor.
Valery Oisteanu
The Brooklyn Rail
JUL-AUG 2009
All Issues
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Strap line 2015
OnOffice Banner SEPT 300x166
18 Jul 2008
Eric Parry
Words by
Although he insists he’s not obsessive, such dedication has served him well. After 25 years in practice, his thriving studio has a staff of 50 and an impressive set of projects on the go including a host of office buildings in the City of London and the West End, plus the sensitive renewal of St Martin-in-the-Fields church off Trafalgar Square and the contentious extension to the Holburne Museum of Art in Bath.
His is a quiet, thoughtful architecture that holds its ground without showing off. As well as the composition of the building and quality of the materials, Parry is deeply concerned with the urban fabric and the quality of the surrounding public realm.
“My architecture is based on an understanding of the pavement and the urban condition,” he says.
As for the interiors, when his practice designs a fit out rather than just the shell and core, Parry aspires to create not just an office, but a workplace engendering “dignity and satisfaction” for those who work in it.
Given his delight in collaborations with artists, and frequent references to artists as the inspiration in his architecture, it is no big surprise to learn that Parry, now 56, dallied with the idea of fine art himself. By his mid-teens he had chosen architecture over art, but came back to it after his first degree following a revelatory year out studying nomadic settlements in Iran and social housing in India.
“In Iran, I felt so drawn to the textures and fabrics that I came back and did a foundation year at Hornsey School of Art,” says Parry. “I felt I should spend some time rekindling my art and wondering whether I should do sculpture.”
Architecture won again, and he headed off to the Royal College of Art, combining his studies with designing film sets for the National Film School, and working as a night security guard at the Serpentine Gallery, which gave him ample time to study the work of Henry Moore, Alberto Giacometti and others up close. But it was his “fantastic” time at the celebrated Architectural Association that set Parry firmly on course for his subsequent career in practice and teaching. He was fortunate to study under leading architects and theorists such as Dalibor Vesely, Rem Koolhaas, Zaha Hadid, Bernard Tschumi, Nigel Coates and Daniel Libeskind, who were at the time particularly concerned with rethinking urbanism and the contemporary city. “It completely changed my life,” he says.
Parry is just as enthusiastic about teaching, which was a major part of his life for 14 years when he taught at Cambridge University, at the same time as building up his own architectural practice (established in 1983). He gave up the Cambridge position only when it became clear that, with his practice expanding, it was impossible to carry on doing both.
“Teaching is an education. You grow through teaching,” he says.
Meanwhile, his own office was gathering momentum. The first breakthrough was the W3 building in Stockley Park in 1991, and then, more significantly, 30 Finsbury Square, in 2002, which has a load-bearing Portland stone facade and was nominated for the Stirling Prize. This was commissioned by Scottish Widows, which has been a repeat client, more recently on the £70m Aldermanbury Square. Eric Parry Architects completed 10 Paternoster Square for Mitsubishi Estates in 2003, since occupied by the London Stock Exchange. The practice also has a strong track record in education, most notably at Pembroke College, Cambridge, as well as many residential and cultural projects, including two galleries for Timothy Taylor and a studio for British artist Antony Gormley. Somewhat incongruously, Parry also designed two bars at the Ministry of Sound.
Parry’s academic background hasn’t put him off doing commercial work. “It is interesting how people still stigmatise it,” he says. “In the rarefied world of urban theory, people still secretly despise office architecture. But here, every project has its desire and potential.”
Most of his commercial work has been speculative offices, which Parry is completely comfortable with. “A lot of London has been made like that,” he says, citing historical examples such as Gower Street, where the orderly buildings may look the same on the outside but may be used for all sorts of things inside. “I have no problem with offering up a building to others.”
Parry certainly works hard to create a building that will perform well for its eventual users, focusing on getting good light into a deep floor-plan and on creating a facade that separates the work environment from the outside world, but without isolation. He was particularly thrilled to have achieved an interior with just one column in the working space at the eight-storey 60 Threadneedle Street, which is now on site, as a result of a plan that sets the core against the internal walls.
“We put the core to the back and there is just one column in the space,” he says. “That’s a joy to me. It’s beautiful to see the expanse of space.”
But Parry is equally happy to work on fit outs when they come his way – they remind him of his film set days and the speed involved is a welcome change of pace from some of his buildings, which can take as long as seven to ten years to happen.
One recent four-floor fit out for Babcock and Brown, in Parry’s Aldermanbury Square building, demonstrates the architect’s desire to avoid bland interiors and instead go for some drama. Making the most of great views over the river to Tate Modern, the reception space, including the ceiling, is kept relatively dark. Lighting is used to accent the reception desk but otherwise draw the eye out to the windows, and to a spiral staircase leading up to break-out spaces in the floor above.
“We enjoy the totality of a project when we’re allowed it,” adds Parry.
That extends to commissioning furniture, wall hangings and, in particular, artwork as part of the buildings – something Parry, given his background in art, enjoys immensely. “Sculpture is incredibly important to me. Art and architecture come together very beautifully.”
These are often integral to his architecture. At 23 Savile Row in London’s West End – a major building on the site of the old English Heritage building Fortress House – artist Joel Shapiro is creating a cast bronze piece strung on seven cables above the building canopy.
“The sculpture was so important in creating a moment of deep freedom – a breath in a building that is so well behaved in other ways,” says Parry.
He is passionate about the need for a building to have civic presence, and works hard to gain depth and shadowing on the facades, in this case using Portland stone with aluminium posts on a granite base.
On a speculative retail, office and residential building for Scottish Widows now on site in nearby New Bond Street/Maddox Street, Parry is using cast ceramic on the facade, illuminated by artist Martin Richman. He is working with another artist, Antoni Malinowski, on a building at St George Street for the same client.
Later this year, he is looking forward to seeing the completion of 60 Threadneedle Street for Hammerson, on the site of the former Stock Exchange, and the complex St Martin-in-the-Fields renewal. Parry also has a 15-storey building in planning at 120 Fenchurch Street that creates a public pedestrian route at ground level with lift access to a roof-top public garden. Work begins this autumn on the extension to the Holburne Museum, following a five-year struggle to gain permission. But Parry has never been scared of difficult sites – as long as it isn’t a project that would destroy the traditional urban fabric. He says he would now love “some really difficult urban conundrums
to solve”.
He feels that the current economic panic might not be a bad thing, as it may mean that some very big, ambitious schemes will happen in different ways. “We need to get to the next generation of buildings, in terms of sustainability,” he says. “The next pause is about rethinking, challenging deeper plans, inhabiting atria and having openable windows.”
But for Parry, you sense that pause or no pause, he will still be up at the crack of dawn and heading over to the office, eager to get on with his designs and his thinking.
At about four or five most mornings, Eric Parry leaves his tiny flat in Golden Lane, Islington, and makes the brief walk to his office to start work, popping back for breakfast later before resuming his day.
newsletter 2015
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Family Portraits
I have recently had te pleasure to to take family photos of the Coetzee Family. I chose Pretoria Botanical Gardens as the location, not only for its tranquillity but also for its safety. Plus I know the gardens pretty well which makes it a bit of a bonus.. 😉
And a couple of my favourites:
Merry Christmas and Snow….
Merry Christmas and Snow….
So the year has just about seen its proverbial.. and although we juuuust about never get any snow this time of the year, I thought it would be cool (yes I made a punny) to have some flakes on the blog.
Got plans for the holidays?
I’m taking my daughter down to the coast to see all the family as some of them have decided on greener pastures abroad. I will be doing quite a bit of shooting down there, who can resist blue oceans, fantastic beaches, cold beers warm braai’s and excellent companionship? I am a blessed man indeed.
I plan to scribble a bit more during the month and I will be posting a recent family portrait session by the end of the week.
Chat soon peanuts!
Ship wreck at Canon Rocks
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Suffering for Sale
August 24, 2006
A trio of refugee girls walks through the Sudanese desert. The rusty red headscarf of the girl in center breaks up the monotonous bluish gray of a cloudless sky that stretches behind her for untold miles as she sets out to look for firewood. Her clothing is immaculate: a broad piece of gauzy off-white fabric tied like an impromptu obi around a pale ochre dress. She is one of over 70,000 refugees in the camp Abu Shouk, where she has taken shelter from a brutal civil war.
In 2003, African farmers in the Sudanese region of Darfur rose in defiance against the Arab-dominated government. They were repressed by government troops and by the Arab militia known as the Janjaweed (literally “men on horses”), who attacked their villages. The conflict has displaced over two million people, who live in political limbo as the international community takes tentative steps to appease the conflict.
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The photograph of the three girls was taken at 7:03 a.m. in northern Darfur. Photojournalist Ron Haviv was carrying his digital camera, a heavy, black Canon EOS-1Ds Mark II, and had, in the past four weeks of traveling between refugee camps, already taken over 10,000 photographs. As the sun rose over the desert, he encountered the three girls. They were shy, as Haviv approached with his interpreter. But soon they told their stories and spoke of their lives in the nearby camp: they were provided with shelter and food, but no means to cook. They were too poor to buy the little firewood available in the severely deforested area. To help their families, the girls often walked up to ten hours a day to find firewood, and sometimes spent the night in the desert—where there is ever-present danger.
Haviv was in Darfur for UNICEF to document the lives of children in the refugee camps. These three girls were only 12, but Haviv had heard of girls as young as eight being raped by the marauding Janjaweed, government troops, or gangs. At Abu Shouk, young women usually collect the firewood. “They hope that if it is the young girls they won’t be raped because of their age,” said Haviv. “Unfortunately it does happen.”
The early morning light infused the sand with an orange glow as Haviv photographed the group headed by the girl with the rust-red headscarf. With an aperture of 2.8, the shallow depth of field made her determined expression become the focal point, as her friends and the landscape blurred behind her.
The following day Haviv left Darfur, and the photograph began its peculiar journey.
Almost three months later, as the trees in New York’s Washington Square Park began their autumnal color-change, photographers from the collectively owned agency VII (pronounced Seven) were displaying and discussing their work over a two-day conference at New School University.
Haviv and a colleague sat at a desk on an auditorium stage, their laptops open, as a video flickered on the screen behind them. The girl with the rusty red headscarf stood in the middle of the frame. Her movements were tranquil, her back held straight. The still photograph of her and her two friends was also included in a new photography show that opened the night before. At the minimalist art gallery in Chelsea, the natural starkness and muted tones of the desert environment in the photo were contrasted against the constructed white wall. The photograph cost $3,000.
The gallery’s co-owner, Bill Hunt, was one of many guest speakers at the VII conference that weekend. A former actor who claims to have entered the art world “to get better discounts,” Hunt is tall with messily swept back salt-and-pepper hair and a considerable talent for public speaking. Alongside his gallery, he actively supports many AIDS charities and teaches part-time. He spoke about his collaboration with VII, whose photographs opened his new gallery, Hasted Hunt.
The abattoir reds of exposed flesh and the silvery white of tendons glistened from his skinned skull, contrasting against the dust-covered black skin of his bare back and buttocks.
The nine photographers in the VII exhibition define themselves as “conflict photographers”—encapsulating Haviv’s image from Darfur, but also his colleague Lauren Greenfield’s photograph of an anorexic American teenager. With images from Iraq, Afghanistan, and Yugoslavia, but also from Minnesota, Pennsylvania, and Washington D.C., the show had less of a specific theme than most gallery shows. And without the captions that accompany photographs in the news media, the VII show decontextualized the images.
There is the assumption that when an image is published in the news media, it is there to raise awareness, to educate media consumers about the world. In the art world, these photographs become objects for individual consumption. It raises the question: is it ethical to sell pictures portraying other people’s suffering? Is it ethical to buy them? The images at the Hasted Hunt show were often difficult to look at; they depicted as much blood and despair as they did beauty and hope. And in contrast to older prints, many of the subjects were still alive, and if dead, killed in conflicts that still rage.
An interest in current affairs may inspire collectors, but the photography market itself is rapidly changing. This past Valentine’s Day, Sotheby’s publicized the success of an auction of 20th Century photographs from the Metropolitan Museum of Art. Bringing in over $14 million in total, the estimates given by Sotheby’s were, either naively or intentionally, miscalculated. The photograph “The Pond-Moonlight” by Edward Steichen was estimated to sell at between $700,000 and $1 million. It sold for $2,928,000. No photograph has ever sold at a higher price. The sale enticed spontaneous applause around the room, and the resulting price surge throughout the market has created a demand for new, relatively affordable, work.
The market has become more receptive to contemporary photojournalism, partly because of rising prices of older work and because of the current political climate after three years of war in Iraq. Financial gain was, however, not the sole motivation behind Hasted Hunt’s VII show. For the gallery’s co-owner Sarah Hasted, a blonde, statuesque 39-year-old from New Mexico, the show highlighted the conflicts around the world that media has covered inadequately, such as the genocide in Rwanda. “I think a lot of people just got up and had their cereal in the morning and knew nothing about it,” she said.
On Dec. 1, Hasted and Hunt held an informal soiree at the gallery to discuss the distinction between fine art photography and photojournalism. Alison Nordstrom, the curator of photography at the George Eastman House in Rochester, NY, which holds the world’s largest collection of photographs and negatives, soon referred to the 1979 book “On Photography” by Susan Sontag, which presents reflections and critiques of the medium. “You also have to bear in mind Susan Sontag’s quote about capitalism’s insatiable appetite for images,” said Nordstrom. “If you can’t sell a photo to a magazine anymore, because there are no picture magazines, why not sell it to a gallery?” She added, “I am interested in the way you can do photojournalism with an 8 x 10 camera with soft focus. Those black-and-white images… are no longer the only vocabulary that’s an option for making informational photographs about the world.”
Kathy Ryan, the photo editor at the New York Times Magazine, has the freedom to work with both fine art photographers and photojournalists, and spoke of letting them “cross over.”
Of photographer Simon Norfolk, she said, “he lives very much in both worlds,” before she walked across her office to pick up a Norfolk image of a man holding balloons on a road in Afghanistan. Comparing his sweeping landscapes to Turner paintings, she once commissioned him to photograph refugee camps in Chad, Chechnya, and Pakistan in the same style. “The work is extremely comfortable on a gallery wall…” she said, “but it is also a great way to get at a subject in a new way.”
The framed Norfolk photograph that Ryan held in her hands was still and serene, in stark contrast to many of the bloodier images for sale at Hasted Hunt Gallery. Before opening their own gallery, Hasted and Hunt had worked on a show of photographs by French photographer Luc Delahaye. One of the images portrayed a dead Taliban soldier lying, as though in repose, in a ditch. It was bought by a private collector, said Hasted. “He hung it in his living room, and his wife left him,” she recalled.
One of the more gruesome images at Hasted Hunt, taken by Antonin Kratochvil, depicted a grown man, hands tied together behind his back, lying in a street in Haiti. The abattoir reds of exposed flesh and the silvery white of tendons glistened from his skinned skull, contrasting against the dust-covered black skin of his bare back and buttocks. The soft outline of two children looking down at the body took up a third of the photograph’s foreground.
“I will put images, some of which are violent, war-like images upstairs [in my house],” he said, “but I don’t want a picture of a machete-hacked Rwandan over my fireplace.”
“The reason that it’s in the show is the theatre of the whole show,” commented Hunt. “When you are putting the whole show together, you’re selling a couple of things, you’re selling pictures, but you’re also selling yourself,” continued Hunt as he leaned back into the red leather of a steel-frame chair in the gallery’s reception room. “Some woman was in here the other day and kept saying, ‘The show is so haunting. It’s so haunting.’ You just wanna go like, ‘Well great, that’s good, maybe you’ll come back once the demons go away and see some stuff that won’t haunt you at all.’ We want to be fresh for people.” Hasted Hunt sold the photograph, but denied requests for the name of the private collector. “He’s someone who is very risky, who has a house full of risky pictures,” Hunt said.
A handful of visitors perused the gallery on a Saturday afternoon in December as two of Hunt’s acquaintances entered the reception room to say hello. Hunt rose to greet them. “This is where we get the clients drunk, so they’ll give us money,” he said, motioning around the welcoming room. “The Darfurs are astoundingly beautiful,” said one, as Hunt whisked the two men into the gallery. A few minutes later, as the entrance opened, Hunt interrupted the murmur of chatting visitors by theatrically exclaiming, “Ah… Ladies and gentlemen, this is Ron Haviv, the world famous war photographer.”
A scruffy, once-black baseball cap covered Haviv’s soft black curls streaked with grey. At 40, the native New Yorker retains the light enthusiasm of a Brooklyn kid. With a boyish face frequently illuminated by smiles, the photographer went from NYU’s journalism undergraduate program to photographing the war in the Balkans in just a few years. “Most artists have this sociopathic self-consumption that is just exhausting. It’s just draining,” commented Hunt. “Ron’s not like that, not so faaar….”
On the wall opposite the entrance, Haviv’s photograph from Darfur hung next to a 1994 image by fellow VII photographer, James Nachtwey. A young man, portrayed in profile, cradled his throat with his hand. The pinhead scars of healed stitches traced a deep cut sweeping from the edge of his mouth towards the base of his jaw. A second scar lined his cheekbone. A third lay above his hairline, a slice taken off the upper part of his ear to accompany it. A fourth dug into his skull. As though mauled by a grizzly bear, he was marked for life from a machete attack in Rwanda. The photograph cost $6,000.
“Are you the kind of person that goes to see the movie Hotel Rwanda?” [...] “Or are you the kind of person that says, ‘Oh, that’s so depressing I can’t go to that?’”
Management consultant and photography collector Alan Paris was one of many visitors to the show. An erudite, mild-mannered man who carries copies of his favorite photographs on his iPod, Paris organizes the New York City Collectors’ Club for George Eastman House in his spare time. He later commented, “I will put images, some of which are violent, war-like images upstairs [in my house],” he said, “but I don’t want a picture of a machete-hacked Rwandan over my fireplace.” He did not buy anything at the Hasted Hunt show, yet his private collection of photographs in his yellow, suburban home, a half-hour by train from New York City, shows he does not veer away from political art. The famous image of a Spanish Civil War soldier, in mid-fall as his body is propelled backward from the force of a bullet, hangs on one wall of the welcoming home that Paris shares with his wife and son.
Paris’s father was a photographer with the U.S. Signal Corps in Italy and Africa during the Second World War. His son’s house is filled with his images, but the collection also contains several photographs by French photographer Henri Cartier-Bresson who co-founded the agency Magnum in 1947. A few are signed—Cartier-Bresson’s handwriting deteriorating from tidy italic script into a shaky sprawl on the photographs he signed later in life.
Paris linked photojournalism’s entry into the art world with political consciousness after the terrorist attacks of Sept. 11, 2001. “I think it is absolutely the case that when the United States is at war, these things become more interesting,” said Paris.
Shortly after the VII show opened in October, Sandy and Ellen Luger, both in their sixties, visited the gallery determined to buy work from the photographers they had long admired. Ellen, a petite, attractive woman with short hair and discrete square glasses, took a pen and paper and walked around the gallery. Her husband, whose equally silver hair is cropped even shorter than hers, did the same thing. Ellen, a retired family-planning consultant, and Sandy, a retired pharmaceutical industry lobbyist, were about to add one or two images to their private collection. Pen and paper in hand, they walked past an image from Iraq of a dead marine, then past an image of lanterns floating down the Tigris. They then walked past the photograph of an emaciated teenage girl, and then the photograph of a grieving man.
As with so many other visitors, the Lugers did not find it an easy exhibit. “Are you the kind of person that goes to see the movie Hotel Rwanda?” Ellen would later ask, “Or are you the kind of person that says, ‘Oh, that’s so depressing I can’t go to that?’” Sandy’s parents were working-class refugees from Europe. The Nazis murdered several members of his extended family. It is a period of history from which he would like to buy photographs. “It is not artful, but it’s meaningful to me,” Sandy later commented.
Eventually, Sandy and Ellen came together to compare their lists of photographs to buy from Hasted Hunt. “We then had a conference and eliminated those that we didn’t mutually pick,” explained Sandy. They had both chosen Haviv’s image of the three young girls in Darfur.
Sandy had initially been attracted to the photograph from Rwanda portraying the young man with machete scars. “But it’s not something that I could show easily in my apartment with the grandchildren.”
“It’s a tough one, no matter who’s there,” interjected Ellen.
This overtly political art is emerging partly because of people’s frustration after four years of war, but there is also a purely market-driven explanation for the increased interest in photojournalism. Hunt believes there is a perception of rarity in the photography market pushing collectors to reinvent themselves. “I myself, as a collector,” he said, “I have seen as prices have gotten steeper and steeper, but the intensity of wanting to get photographs hasn’t lessened.” He added that the myth and perception of war photographers helped in the marketing. “These people are charismatic… It’s part of the baggage. It’s how they’re successful, because they have to go into, very often, a hostile place and be charming and get things that people don’t want to give them. One way of doing that is by being charismatic. It doesn’t necessarily mean good looking, but it means charming and quick.”
His appreciation of the serene, attractive photographer James Nachtwey, whose aura is quietly confident, propelled Hunt into storyteller mode. “He’s got this fucking white Oxford cloth shirt on the West Bank, and you go like, ‘What is that?’ Everyone else has got flack jackets and helmets on, and he looks like Gandhi in the middle of this…” said Hunt, spreading his arms out wide as though embracing an imaginary crowd of stone-throwing protesters, before concluding, “He has a luminescence that comes out of him, he walks into the place and does that Abe Lincoln thing, and you go like, ‘Hey, I’d fuck that.’”
Haviv concedes that 50 percent of the profits went to him, which means he will have received just under $13,000 for the Darfur image alone.
“Much of modern art is devoted to lowering the threshold of what is terrible…” wrote Susan Sontag. “Photographs shock insofar as they show something novel. Unfortunately, the ante keeps getting raised – partly through the very proliferation of such images of horror.” Hasted and Hunt worked with VII’s images in enormous format for over two months, yet never felt desensitized. “We were reminded every time someone came in and cried,” said Hasted.
Photography also concerns a search for innovation and rediscovery. Aesthetics evolve. “I do think that what is consistent about all these things,” commented Hunt, “is that people are hungry for stimulation.” His take on selling and buying art is refreshingly unproblematic. “It’s just stuff,” he said. “It really is just stuff. You take it home, and you hang it up. You say, ‘This is my stuff.’” Among his own 200 pieces of art, Hunt identified the most disturbing object as a Joel-Peter Witkin photograph of a decapitated man, only wearing socks, sitting in a chair in a morgue. “I adore this print. I don’t like the socks in it; it’s all about the head for me. When I saw that picture, I was like, ‘Oh Man’ that like breaks every rule ever, can’t do that, bad….” Hunt looked euphoric. “Ultimately transgressive.”
The photograph hung in his home opposite the kitchen for a time until his partner vetoed it.
This succinctly personal connection to owning art is shared by the Lugers. The couple claim not to view the purchase of Haviv’s photograph of the three young girls in Darfur as an investment. Sandy bought his first photograph a few years ago. On a trip to New Mexico, he telephoned Ellen at home in New Jersey to say he wanted to buy a Henri Cartier-Bresson photograph. “Good, we’ll have to get an apartment in New York,” she replied. Sandy bought the photograph three days later. The couple moved to New York City soon after. “We bought the apartment to surround the picture,” said Sandy, “so I say it’s the most expensive Cartier-Bresson ever.” The prices of Cartier-Bresson images have increased 500 percent in the last 10 years according to the Paris-based Web site ArtPrice, which monitors the international art market.
Haviv contends that any exposure, even when provided by an up-market Chelsea art gallery, is positive. “It’s just another way of communicating. My work has appeared in schools, in outdoor exhibits free to the public. It’s just another way.”
Hasted Hunt sold eight or nine prints of his photograph, said Haviv. Neither he nor the gallery owners want to speak in any detail of the financial aspect of the venture. “This is not, and never has been, a profession one enters for the money,” said Haviv who concedes that 50 percent of the profits went to him, which means he will have received just under $13,000 for the Darfur image alone. This does not include the profits from the four other images he exhibited at the gallery. On the other hand, Haviv has helpED raise almost $30,000 for Unicef Darfur with events and some proceeds from print sales, and if it were feasible he would have liked to share the proceeds with the girl who dominates the image.
To comment on this piece: editors@guernicamag.com
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04/09/2020 03:31:25 AM
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The 1 oz Molon Labe Silver Round features a design that is an enduring as the defiant battle cry is itself. The Molon Labe series of rounds serves as an homage to these great warriors, who still inspire many today.
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Provident ID 2574347
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Abstract black and white background of ink or smoke flows is kaleidoscope or Stock Footage
Stock Footage
Abstract Black And White Background Of Ink Or Smoke Flows Is Kaleidoscope Or
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Abstract black and white background of ink or smoke flows is kaleidoscope or Rorschach inkblot test in slow motion. Black Ink fall in water. For alpha channel use luma matte as alpha mask, Injection, Rorschach, Rorschach test, alpha channel, alpha matte, background, background motion, backlit, chaos, chemical, creative, diffusion, digital, disintegration, dissolve, dissolving, drop, dye, exploding, fluorescent, footage, fume, gas, green color, ink, ink drop in water, ink effect, ink mattes after effects, ink splatter, kaleidoscope, keyed, matte, move, paint, pigment, psychedelic background, ravishing, reveal, saturated, slow-motion, smoke, smoky, spatter, spray, spread, stream, studio shot, underwater, visual effects
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Strategies On How To Take A Good Picture
Do you wish to change your photography hobby into a form of art? In this article, there are some tips and tricks that can turn your run-of-the-mill photographs into something special. The following article will give advice on the basics, such as the proper way to develop pictures, as well as getting the perfect shot.Check out what other photographers are doing to get ideas to improve your own photography. Seeing their work can remind you of all the various ways to take photos of many moments.Choose what will be in the picture. A good photograph will be a small window that shows one view of your subject. Avoid the temptation to include your entire subject in the photo. In fact, sometimes it’s better altogether if you take multiple photos of a subject instead of struggling to get that one illusive shot of perfection. This works especially well when you’re trying to capture the essence of something.Moving around your subject is permissible and allows you opportunities for better shots. Try taking pictures of the subject from below, above, to the left and to the right.Keep your photographic techniques simple and uncomplicated. There are times when a wonderful photo can be taken without much adjustment in motion or color settings.Often digital cameras will have a flash option that responds to dim light, making the feature available automatically. Even though these may be convenient, you may want to get an external flash with different light ranges, so that you have more control over your lighting. Find out if your camera comes with a “hot shoe” attached to the top that will allow an external flash to be attached. If you are not familiar with cameras, consider going to a professional to ensure you have purchased an external unit that is compatible with your camera.
Larger Memory Card
Whether you want to take up photography as a hobby or simply learn how to improve your photographs, you can benefit by educating yourself on the elements of composition. Bad composition can turn an otherwise-great shot into something that doesn’t seem quite right. Try educating yourself about proper composition and your photography skills will soon improve.One of the best ways to capture perfect shots is to take many photographs of your subjects. Keep this in mind when purchasing a memory card, so you can be sure to get one with a large storage capacity. When you increase the memory on your camera with a larger memory card, you will better be able to avoid running out of memory when you are shooting a lot of pictures. An added benefit of a larger memory card is that you will be able to shoot in RAW (if your camera has this capability). The RAW format preserves more details than JPEG and allows for a lot of flexibility once you get into post-production.It has become the norm to keep everything in life centered and even. Perfection may be the desire of most, but shooting a photograph which is slightly less than perfect, off center, for example, can create an effect that is astounding. Do not use the auto-focus feature that will detect your subject and place it in the center. Try manually adjusting and locking your focus before you take a picture.When you take photographs, write a couple of notes about them. It can be hard to keep track of where your photographs were taken, or what you were feeling when it was shot. Take a small notepad wherever you go and jot down the description and picture number.Experiment with different perspectives, scale and photographic expression. A simple object may appear more artistic if it’s in a setting which makes it appear a different size than it is or in a funny or original situation. Experiment with your compositions to bring a unique perspective to an ordinary object.If you don’t know a model, try to make them feel as comfortable with you as possible. Some people look at photographers as threatening. Be sociable and down-to-earth, start a conversation with them, and politely ask if it’s okay for you to photograph them. It’s up to you to help them understand they’re taking part in your art, and you’re not not trying to invade their privacy.
When traveling, look for interesting features, monuments, and buildings to photograph. If you do not know where to start, take a look at some postcards. Those postcards will have pictures of attractions and subject matter that you should try to add to your own photos.Anybody can become a decent photographer, it just takes practice. Keep shooting pictures, and get experienced at doing so. Get a digital camera so you can take as many pictures as you want. Delete the ones you have no interest in. Over time, as you continue to take photographs of everything, you will get better at analyzing them and determining what could make each photo even better.When photographing, utilize a white balance that isn’t automatic. This is an easy way to get a more professional looking photo. You can allow for a learning curve while you start out in photography, and you will find that using manual white balance can let you get really creative.If you like the old style that is associated with using a camera that uses film then you should pick one up from a secondhand store and see how you like it. Use black and white film with a 200 ISO for a dramatic effect that can work in many situations. When getting your film developed, look into having your photographs printed on fiber-based, or other types of photo paper that are available.For most shots, the most important step in getting a good photo is ensuring the subject is in good focus. In order to ensure that your pictures have the very best composure and are a reflection of your style, it’s vital that you keep that camera in good focus. Especially in the beginning, keep your subject in view and centered. Let the background figure itself out.Composition is a photographic skill worth mastering, whether you want to develop a professional talent or are simply interested in taking better pictures. Lackluster composition can ruin the potential of a shot, just as any piece of art in any medium needs good composition. Study up on different methods of composition and then apply it to your own photos.It is necessary to invest in quality equipment, and find something that works well for you if you intend to pursue photography as a lifelong hobby. Many professional photographers prefer a specific name brand, but there are several other brands that provide consistently good results as well.If you are taking pictures of subjects near fluorescent lighting, you’ll need to manually set the white balance to correct for the tinting effect this causes. Subjects will not look their best under the harsh light from fluorescent bulbs, so adjust the color settings on your camera.Figure out different ways to adjust your shutter speeds. People usually think that using a faster shutter speed is the best way to capture something going fast, but using something more slow, like 1/30 can be beneficial. Did you see that guy on the bike? With a slower shutter speed, you will get a sharp image of the subject with a background that expresses speed due to a horizontal streaking effect.Many people believe that it is advantageous to wear white when they are being photographed. However, white is actually one of the most unfavorable color choices. If a camera is set on auto focus, it will try to analyze all the nuances and shades and most cameras will not be able to distinguish enough shades on a white shirt. White clothes will often end up looking like a blank space.When shooting photographs in the wilderness or other natural environment, give your surroundings some extra consideration. While appreciating the scene is good, take an additional moment to see to it that you are not leaving any traces. If you discover a clean, lovely area that allows you to take very nice photos, try to leave it the way it was so that other photographers can enjoy it as much as you did.It is crucial to understand proper focus and good lighting to create magnificent pictures. After reading this article and trying out some of its tips, you should be better equipped to make use of more of the photographic options available to make your pictures reflect your intentions.Finding the right brand of camera for you is necessary to be a good photographer. Every photographer has their own preference as to which film is the best film for them personally. There aren’t big advantages to a certain brand over another. Once you have found the right film format, film brand is up to you.
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Divercity Architects and Carole Topin design advertising agency like a ‘creative engine’
London and Athens based architects Divercity and designer Carole Topin have created the new headquarters in the Greek capital for advertising agency Frank & Fame
(Image credit: Mariana Bisti)
Communication and the exchange of ideas are key to modern working; especially in a creative field such as advertising. So when London- and Athens-based architecture practice Divercity and designer Carole Topin embarked on redesigning an interior within an existing 1970s building in the heart of the Greek capital, they drew on the same principles for their concept.
At the centre of the new headquarters for dynamic advertising agency Frank & Fame, the architects ‘designed a central creative engine', they explain. This core space, divided in distinct zones, provides all the necessary areas and stimulation required for the smooth running of this creative hub.
The team crafted spaces for larger, group meetings, informal brainstorming sessions (called the ‘Pin-Up Room'), and more private, one-to-one discussions (the ‘Confession Booth'). There is space for seclusion and reflection, while circulation areas cleverly double as a library zone, walls dressed with shelves and reading spots. Elsewhere, open-plan desk areas, private offices and meeting rooms are arranged around the ‘creative engine'.
‘With fluidity and flexibility at its heart, the design responds to the needs of a contemporary workforce and provides Frank & Fame an office with longevity, where ideas and relationships will flourish', says the team. Greenery in bespoke planters and colour accents ensure a varied environment, all made using the expertises of construction specialists Escape.
Using immersive, dark colours, sharp lines, warm materials and strong geometries, Divercity and Topin's architecture is a celebration of the creative process; and the way architecture can foster and enhance it.
For more information visit the website of Divercity Architects and the website of Carole Topin
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Colour Sound Supplies Hurts Tour
Colour Sound Experiment, a London-based lighting and visuals rental company, is supplying lighting equipment and crew to Hurts’ current European tour with production designed by Rob Sinclair.
Colour Sound invested in 100 x new Martin VDO Sceptron 10 LED battens for the tour. Show on Hurts' current European tour with lighting supplied by Colour Sound Equipment.
Sinclair and the band’s initial inspiration for the band-in-boxes set design came from several operatic references to capture the essence of the unique ‘classic but dynamic’ look they wanted.
The addition of a set of 4-position – manually controlled - reflective louvers at the back of each cage enables sheets and shafts of light from the various mid and up-stage fixtures to be filtered through, directed, reflected and bounced around.
From there, Sinclair started adding lighting fixtures.
Starting with the set that defines the stage space, the four cages are 8 feet high and built on 8-by-10-foot deep riser decks, 3 feet off the stage.
In the roof of each band cage are four 2-meter runs of Sceptron (2 conjoined strips each) so 32 fixtures in total, with the other 54 Sceptrons aligned along the front of the cage riser in continuous lines. They are all fitted with the large, white, rounded diffusers to fill as much airspace as possible. These are set 150 mm apart, resembling a neon fence.
The Sceptrons – using the internal effects and programmed sequences via the lighting console – are the main aesthetic feature of the show.
In the air are three trusses – front, mid and rear. On the mid truss are 7 x Robe MMX Spots plus eight Source Four Profiles for band keys. The back truss features another 8 x MMX Spots and the reversible backdrop, which can be hung one way for a brown look and reversed to give a silver effect.
The backdrop was sourced from EventServ Drapage in Dublin. Light from these MMXs do a lot of work above the set cages interacting with the louvers. On the front truss are another 7 x Source Four profiles and some 8-lite blinders for the audience.
On the floor are six Robe LEDWash 600s, two on each side in the downstage positions for Hurts and one on each side in the mid-downstage area, shooting across the band risers.
Far upstage right is a row of 6 x Robe BMFL Spots on the floor and blinders for blasting through the set. The BMFLs are used to produce big, mega-bright blocks of expressionist-style light, which can be further varied via the different louver positions.
Upstage 4 x Source Fours tubes without lenses are used to silhouette the band in their riser cages for the first two numbers of the set, and later on past them into the audience.
Thirteen atomic strobes are scattered around, with two either side of stage, five on the top deck of the risers facing forward and four under the risers firing through the Sceptron ‘fence.'
The AVNetwork staff are storytellers focused on the professional audiovisual and technology industry. Their mission is to keep readers up-to-date on the latest AV/IT industry and product news, emerging trends, and inspiring installations.
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Kyle + Jerome | Public Chicago Hotel
Some of the design details that we loved were the custom monograms stitched into the inside of our tux jackets, the clean and contemporary floral selections, the modern graphic elements including the framed monogram for the fireplace and the printed menus and lastly the relaxed, casual lounge setup of the cocktail room.
— Kyle + Jerome
It was incredibly effortless working with our fig artists. From the initial conversations with Megan about our overall vision to the first meeting with Joe and Brian, they were all not only interested in and energetic about our wedding ceremony/reception, but they really very quickly understood what it was we were looking for. On the day of, Joe and Brian arrived early, went over the plan with us and made us feel very comfortable. They were both very detailed in their work and took great pride in the final products. Both the photos and the video are absolutely incredible and are such a special keepsake of a wonderful weekend! We could not have asked for a better result!
— Kyle + Jerome
Featured In:
Photography: Brian Carey
Film: Joe Martinez
Ceremony: Public Chicago - Ava Terrace
Reception: Public Chicago - Louis Room
Catering: Public Chicago - Jean-Georges Vongerichten
Cake: Bittersweet - Nancy Fetsch
Floral: Fragrant Design - Tori Terzakis
Officiant: Rev It Up - Jarrod Gaither
Design: Kyle - Jerome
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Museum for Islamic art Jerusalem
The Museum of Islamic Art
Welcome to The Museum of Islamic Art
Group Booking
The Museum of Islamic Art - 5
• The Museum of Islamic Art - 5
• The Museum of Islamic Art - 4
• The Museum of Islamic Art - 3
• The Museum of Islamic Art - 2
• The Museum of Islamic Art - 1
Opened to the public in 1974, Jerusalem's L.A. Mayer Museum for Islamic Art boasts one of the world's foremost collections of Islamic art and antique timepieces. The L.A. Mayer Museum was founded by the late Mrs. Vera Bryce Salomons, realizing her long-standing idea of giving expression to the impressive artistic achievements of Israel's Muslim neighbors. Mrs. Salomons dedicated the Museum to her friend and teacher, Prof. Leo Arie Mayer. Many scholars of international renown took part in the establishment of the Museum, attracted to both its research activities and to the challenge of bridging the gap between the two cultures.
By car: From the city's entrance, go straight and count 8 traffic lights (starting with the one at the entrance past the gas stations). You will pass Sacher Park and the Valley of the Cross on your right. At the 9th traffic light, turn left on to HaPalmach Street and continue straight until the end. The Museum is at the end of HaPalmach on your left.
Parking: There is free parking in an open lot on Chopin Street, opposite the Jerusalem Theater, and along Chopin, Dubnov and HaPalmach Streets.
By bus: No. 13 from the Central Bus Station via the city center stops on HaPalmach Street. Buses 9, 19, 22, 31, 32 stop on Aza Road, a short walking distance from the Museum.
• Free Parking
• Air conditioning
• Kids friendly
Adults - 40 NIS | Students, police, soldiers - 30 NIS | Children, teens, seniors - 20 NIS
This week at The Museum of Islamic Art
The world-renowned Sir David Salomons collection contains more than 180 watches and clocks.
This important, beautiful and rare collection came into being thanks to Sir David's knowledge of horology and to his prosperity.
The collection's most significant and special timepieces are the ground-breaking group of clocks by Abraham Louis Breguet (1747-1823).
The inventor of some of the greatest technological innovations in watch-making, Breguet was among the most influential individuals in modern horology.
Most of the watches that were given to the Museum were made by Breguet, including watch number 160, known as the "Marie Antoinette."
Alongside the 55 items in the Breguet group, Sir David's collection includes a group of automaton clocks as well as gold musical snuff boxes adorned with enamel pictures, pearls and diamonds.
These are the works of renowned 19th-century craftsmen, particularly in Switzerland.
The collection also features a selection of scientific instruments, such as barometric compasses, sundials and telescopes from the 17th to the 19th centuries, as well as an interesting group of clocks manufactured in the 19th century in Europe for the Turkish market.
The Museum's permanent collections constitute one of the most important exhibitions of Islamic art in the world. The collections represent the various period of Islamic rule, from the seventh to the nineteenth centuries CE.
The exhibits present the numerous styles that characterized the different dynasties, from the first Umayyad caliphs to the Ottoman period, which marks the end of the Muslim Empire. The Museum's exhibition halls are arranged in chronological and geographical order, in accordance with the various dynasties.
The collections include archeological finds from the Umayyad period and objets d'art from the Abbasid, Seljuk, Fatimid, Mamluk, Mongol, Timurid, Safavid, Kajari, Moghul and Ottoman periods. A special section of the Museum is devoted to the jeweler's art; it contains a collection of jewelry from all parts of the Empire.
The collections show the visitor the great diversity which exists in Islamic art: decorated manuscripts with beautiful calligraphy; embroidered rugs; chessboards and chess pieces; dominoes and ancient playing cards; beautifully decorated colorful everyday objects and jewelry collections. The Museum's Harari Collection exhibits silver vessels from the eleventh century CE found in a jar that had been hidden in the course of a well-to-do Spanish merchant's journey to Persia.
The Museum's magnificent weapons room contains weapons and firearms from the seventh to the nineteenth century CE, and various battle paraphernalia such as ancient armor, helmets, gunpowder pouches, unit insignias, and more.
The Jerusalem Tourism Map:
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In October 2009 Artek and Comme des Garçons will launch their joint creation, the STANDARD fragrance. The name derives from Artek’s standard thinking, based on Alvar Aalto’s original idea of systems and standards in furniture design.
The unisex fragrance was created in line with Artek STUDIO’s brief on combining synthetic and natural elements. The final scent was developed by Christian Astuguevieille, perfume creator at Comme des Garçons. The result is a blend of Finnish Labrador Tea, Twinflower Linnea Borealis, metal and rust in the base notes and fennel, ginger, lemon, musk, saffron and cedarwood in the top notes. The visual aesthetics of the STANDARD fragrance were developed to stand along with Artek’s ideology and existing products. In line with Artek’s design ideology, the scent is created with the ambition to nourish physical and emotional wellbeing.
The fragrance concept was conceived in the pleasant atmosphere of the first collaboration between Artek and Comme des Garçons in 2007, an Artek exhibition of ‘second-cycle’ furniture at Dover Street Market London and Comme des Garçons’ main flagship store in Tokyo. Artek is continuously on the lookout for new and interesting working methods, materials and collaborations. Creating a fragrance with Comme des Garçons was for Artek a great opportunity to work with a company in the forefront of cultural reinvention. The launch of the STANDARD fragrance is one of the key events in Artek’s 75th anniversary celebrations.
artek_comme-des-garcons-1
”To be trendy has never been an end in itself for Artek. The world of senses is always interesting and that was reason enough for us to get involved in the project. Comme des Garçons and Artek are both exceptional companies that have the audacity to operate in fields that are not necessarily intrinsic parts of their business. The STANDARD fragrance is in itself a unique phenomenon. It communicates a message about what Artek stands for today; being radical,” says Mirkku Kullberg, Managing Director of Artek.
“I guess the greatest similarity between Comme des Garçons and Artek is that we both have a strong vision and belief in creativity that does not lend itself to compromise,” says Adrian Joffe, President of Comme des Garçons Parfum. “We believe such collaborations create a synergy where the result is greater than the sum of its parts.” Comme des Garçons is known for its experimental approach in everything it does, continuously creating things that did not exist before. “We like to question the notion of what is luxury,” concludes Joffe.
STANDARD will be launched in London at Dover Street Market on October 15. The fragrance will be distributed through Artek’s and Comme des Garçons’ own stores as well as Comme des Garçons resellers.
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The Days are Numbered
07.17.2024 - 10.07.2024
MAAT, Lisbon
30 days ago
A visual artist with an extensive published bibliography and an international career, Daniel Blaufuks (b. 1963) has developed a visual-textual diary in which he comments on current events and his life since 2018. At MAAT, he presents The Days Are Numbered, showing his diary for the year 2023, together with some days from the previous five years, and his entries for the first few months of 2024. The more than 450 works include photographs, collages, and clippings with personal notes, referencing brief stories, quotes and comments.
According to the artist, this diary has become the task of a lifetime. By exposing his memory, his days and the days of the world intersect. On simple landscape A4 sheets, the artist numbers the days/years as they go by; he pastes in polaroids (one or two per page) and clippings, and handwrites or stamps phrases (his own or quoted without reference) in the languages he knows best (English, German, Portuguese, French). Here we can see the intersection of themes that we are by now accustomed to find in his work, such as the connection between time and space, and the representation of private and public memory, more precisely family, personal, historical, political and cultural memories.
As João Pinharanda, the exhibition's curator, writes in the text Memory is a betrayal of time, which accompanies the exhibition: "The artist reacts to his surroundings by fighting against time?s voracious march over all things. If he doesn't annul time, he at least slows it down, postponing the erasure of things; but it is significant that he calls this work a "non-diary", and that he refers to "non-portraits" when he talks about the faces of some of the interlocutors he fixes on these pages. This double negative classification, a confession of impotence, exposes the inevitable contradiction of all records of memory ? that oblivion is their destiny."
While some months of this non-diary have already been presented in France, this is the first time the artist has exhibited this project in Portugal and the first time he has exhibited a full year.
On the occasion of the exhibition, the Portuguese and English versions of the book where the artist presents this project for the first time will be published as Os Dias Estão Numerados by Tinta-da-china and as The Days Are Numbered by JBE/JKG Books, available on our store.
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Andy Thomas
Many call Andy Thomas the ‘Storyteller' and if you have ever had a chance to view his work you might just agree. Currently he is telling many stories with his action filled western art. These pieces bring cowboys back to life as well as the American West history. In the past, Andy has painting many subjects from a picnic by the river, kids playing sports to a brutal bear fight. All of his paintings end up telling you, the viewer some kind of story of our lives.
You can find his work in magazine articles, National Park Service brochures, and educational books by the Franklin Watts Children Press, Harcourt and others. He has also illustrated books and his images have been used on many book covers. The hardback book titled The Artful Journey contains over one hundred color images of his work and many include their stories that were mostly written by Thomas. It is available through his studio. In addition to books Andy's work can be found in videos produced by the NPS, US Federal Claims Court and National Geographic.
During the years Andy has judged art shows and given art lessons to both children and adults. He had the honor of being the Artist in Residence at Navarro College in Corsicana , Texas where lectured and gave painting demonstrations to college students and the general public. His work has won numerous awards and he participates in many shows and exhibitions throughout the country. Some are the CM Russell Art Auction, International Masters of Fine Art Show, Salon International Show, Midwest Gathering of Artists, Settlers West Show and others. He is represented by Greenhouse Gallery of San Antonio Texas.
The Pearce Western Art Museum , and the Iowa State Historical Museum are a few of the museums that have his artwork displayed as part of their permanent collections. Also corporations such as Leggett & Platt, Inc., Stanton Partners Inc., Lathrop & Gage, Hometown Bank and Healthpoint Limited are owners of original oils by Andy Thomas.
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Amedeo Modigliani Biography
(Italian Painter and Sculptor Known for His Works: ‘Redheaded Girl in Evening Dress’ and ‘Madame Pompadour’)
Birthday: July 12, 1884 (Cancer)
Born In: Livorno, Italy
Italian painter Amedeo Clemente Modigliani was considered among the most accomplished painters who reveled in painting the nudes. In a career that did not last long he created a lasting impression on the hearts and minds of people in artistic circles. Modigliani’s mother was an early influence in his life and always encouraged him to pursue his ambition of becoming a painter; which is why he was sent off to Florence in order to learn the ropes of painting. Although Modigliani was born in Italy, a great centre of art and culture, he moved to France as a young man and became a part of the new wave of artists that came into prominence in that era. In addition to being a prolific painter, Modigliani was also a sculptor and produced some excellent pieces that were inspired from African culture. Modigliani’s most famous work was the series of nudes that he drew as part of a solo exhibition and remains his most stellar work; although the work was criticised for obscenity at the time. Modigliani suffered from several illnesses throughout his life and that was something that hampered his work. He died at the young age of 35.
Quick Facts
Italian Celebrities Born In July
Also Known As: Amedeo Clemente Modigliani
Died At Age: 35
Spouse/Ex-: Jeanne Hébuterne
children: Jeanne Modigliani
Sculptors Italian Men
Died on: January 24, 1920
place of death: Saint-Étienne, France
Notable Alumni: Accademia Di Belle Arti, Florence, Académie Colarossi
Cause of Death: Tubercular Meningitis
More Facts
education: Académie Colarossi, Accademia Di Belle Arti, Florence
Childhood & Early Life
Amedeo Modigliani was born in a Jewish family on July 12, 1884, in Livorno, Tuscany, Italy, to Flaminio Modigliani and Eugenie Garsin. His father belonged to a family of entrepreneurs while her mother came from an intellectual, scholarly family.
Amedeo Modigliani suffered from different illnesses like pleurisy and tuberculosis at different points in his childhood as a result of which he wasn’t enrolled at a school. He was instead home schooled by his mother in his early life. Modigliani had shown his talent as a painter at an early age and her mother was convinced that he had the talent to become a professional.
Modigliani’s mother sent him to Florence in 1898 in order to train as a painter under the guidance of Guglielmo Micheli at his art school and he trained there for two years. At the art school, he got acquainted with other artists and his education was enriched.
Modigliani enrolled at the ‘Free School of Nude Studies’ located in Florence, in 1902. After spending a year there, he went to Venice and lived there for a few years before moving to Paris.
amedeo-modigliani-3396.jpg
Continue Reading Below
In 1906 Amedeo Modigliani arrived in Paris, which was then the den of young artists and immersed himself in the avant-garde artistic scene in the city. During the initial days in Paris, Modigliani painted vigorously and sometimes drew as much as hundred sketches in a day. He also became friends with Pablo Picasso and poet Max Jacob.
Amedeo Modigliani became acquainted with a man named Paul Alexandre while he was in Paris and true to his reputation of being a friend of the young artists in the city; he bought some of Modigliani’s works. In 1908, two years after first setting foot on Paris Modigliani hosted his first exhibition.
Romanian sculptor Constantin Brancusi aroused Modigliani’s interest in sculpture and he spent some time studying African sculpture. He did some sculpting and in fact he exhibited his work at the Salon d’Automne in 1912 that showed whatever he learnt of African sculpture. Modigliani did not pursue sculpting for long but the stint had a profound influence on his painting.
The breakout of the First World War in 1914 had an adverse influence on Modigliani’s life as he could not find customers for his work and at the same time his health had deteriorated. However, some of his friends rallied around and bought some of his work.
In 1917, Amedeo Modigliani painted 30 nude painting that have been rated as his best and the most refined work. After the completion of these paintings, an exhibition was organised for him but the authorities did not allow the event to be hosted on the charge that the paintings were indecent.
amedeo-modigliani-3397.jpg
Major Works
The series of nude paintings that Amedeo Modigliani drew in the year 1917 is regarded as his greatest work and among them ‘Nude Sitting on a Divan’ is considered to be the finest.
Personal Life & Legacy
After a series of relationships throughout his life Amedeo Modigliani seemed to have settled down with Jeanne Hebuterne, an arts student and the couple started living together in the French Riviera in 1917. A daughter was born the following year.
Amedeo Modigliani had suffered from several illnesses throughout his life and after suffering from tubercular meningitis for more than six months; he died on January 24, 1920 at the age of 35.
amedeo-modigliani-3398.jpg
See the events in life of Amedeo Modigliani in Chronological Order
How To Cite
Article Title
- Amedeo Modigliani Biography
- Editors, TheFamousPeople.com
https://www.thefamouspeople.com/profiles/amedeo-modigliani-6804.php
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Reading is my favorite activity at any time of the year. I especially love to read books. Books on religions, theology, art and world cultures. I read them in hard copy, on-line, and on my Kindle. I also listen to audio-books and books-on-tape/cd's that i borrow from the library. In the summer I enjoy reading English "tea-cozy" mysteries. "Tea-cozy" mysteries are fun with great plots and are not too violent. Violent books and movies give me nightmares, so I don't do "violent". When I was younger and learning French and Spanish in high school and university, I would read magazines and books in these languages. (I still do.) Of course, I didn't understand all the vocabulary (and still don't) and needed to look up some words. I didn't look up all I didn't know, that would have taken too long, and I was impatient to get on with it. Somehow the more I read the more I... read more
Over these coming warm weather months I plan on incorporating lessons in the parks of New York City. This is an ideal place for drawing, watercolors, painting and of course live sketching. Today I worked with a students who is focusing on creative concepting for an illustration series. I look forward to working with new students who want to broaden their fine or digital art skills while taking advantage of all the resources NYC has to offer! Feel free to contact me if you would like to learn how I can help you with your creativity.
Hello! I am writing to let you know that in 2014, as an ART TUTOR I will be offering lessons that you don't need to haul any art equipment to. If you want to schedule more then one lessons, and invite some friends, the lessons would have, food and music in a quiet not distracting setting and I would come to your residence. Great for Summer parties with kids! Adults can take in the fun too, for everyone needs some fun time, and down time, from everyday schedules. I have an open backyard for painting if you prefer lessons at our home. (Weather permitting.) I am excited this year to try something new and FUN! There is Art companies out there who can do the same thing, but you don't know the instructor. Get to know me. I am a mother of 5, and enjoy art. I help out doing art in my daughters school once a month. I have experience, and schooling, and a degree. If you... read more
I am interested in teaching problem solving and confidence, I believe every child can achieve excellence and I have the skills to allow children to do just that! I have been a teacher in the Cleveland CCCCA School District. During that time I have served as a certified and licensed art teacher. This particular field is unique because it has allowed me to work with students in all grades. I have had the opportunity to teach senior high school over the course of my career in China. I believe I can make parents' and students' lives more productive with less conflict.I am currently working with a wonderful young lady in her pre-teen years to compile a portfolio for admission to the Rush Arts Academy in Philadelphia. This young lady has raw talent, but also is a fabulous listener! She struggles in self-confidence (what artist doesn't?), but we are making great improvements. We have meetings every other weekend, and I demonstrate a new technique and project for the portfolio. So far, we have completed a pencil still life of dishware, a 2-part positive and negative charcoal still life of fruit, and a watercolor painting of a bamboo plant. They have all come out fabulously. Currently we are working on her awesome self-portrait collage idea, incorporating several small canvases on a large canvas, with emphasis on what she enjoys to do. I have a great feeling about this current project! The next meeting is going to focus on creating a landscape work with oil pastel and matting her finished work for presentation. There are a few things I... read moreWho is Amanda O.? Just another art teacher in Philadelphia? I am indeed an art teacher in the Philadelphia School District, but am so much more than that. While some students have the misconception that teachers just hatch from an egg as is, we know that's not true. I have many parts to me, as I am sure you have to you. I am a world traveler, who loves exploring new places, but also loves home more than anywhere. I also truly love helping others. During the summers of 2004 and 2005 I was able to combine these two passions by volunteering for a Christian service group called Project Serve. Our Project Serve team went to a small village just outside of San Pedro Sula, Honduras those 2 summers to serve the people of a Christian Youth Camp. My team focused on building a dorm hall and establishing a clean drinking well. While it was incredibly difficult, both physically and emotionally, each time I traveled there shaped who I am today. While we worked 8 of the 10 days we were there,... read moreIt’s been a week full of toddler art–which is great, because it means the kids and I get to wallow in our materials and get paint in our hair, our toes, and sometimes…our mouths (non-toxic!). This project was great, because not only did it give a finished project that J. could play and learn from after our session, but the making was extremely tactile. Lots of paint splashing and fascinated puddle watching. There were some problems and things I would do differently (listed in detail below), but overall, success. ---------------------------- Watercolor Relief Alphabet Cards *freely repost, but attribute to Doodles (doodlesnyc.com)* Time: 1.5 hours (if you do multiple paint coats, less if you only do one) Materials: two sheets of 15×20? nice watercolor paper folded into 4, then divided into 4 (so you have four rows of four), watered down tempera paint, sponges and containers, blow-dryer Begin with two sheets of watercolor paper that are folded into four rows... read more
What nice things were said today about my teaching. This by a former Principal. "Rosemary was a very dedicated teacher with good moral values and a passion for teaching. She was always prepared for class, punctual, responsible and was able to motivate children to learn. She was also very creative in her approach and the children were drawn to her. I was very fortunate to have her ... in both programs I have supervised. The students and their parents respected her and learned a lot under her leadership. I would highly recommend Rosemary ... She is a team player who sets high standards for herself and is a hard worker. She would be a valuable addition to your program."
I thought I'd write a bit about why I chose to sign up on WyzAnt. When I was attending Penn State, I became disillusioned with the art instruction available at universities. To me, it seemed that the curricula were heavy on theory (what is art, why do people make art, and a personal artistic voice) and unconscionably light on technique! Now, I don't want to short-sell my instructors in any sense. They did a fantastic job within the expectations of their field and the university, and they are my examples for how to effectively communicate artistic ideas. Wherever I looked in the mainstream art-education universe I saw a huge gap in the teaching; students never really learned how to observe nature and faithfully record their observations! Technique, as it pertains to drawing and painting the way I teach, can be defined as "the physical and mental skills with which an artist translates their understanding of the observed world into a work of art." I found that... read more
I thought I'd offer you a free lesson while you are trying to choose a teacher. This art lesson can take several weeks but you will find out all sorts of things about yourself as an artist by doing it. Art lessons can be intimidating and scary or it can be fun. This art project is fun once you get past the mixing part. If you hire me, I'll meet with you and give you a lesson to complete before our next meeting. I will refer you to websites, books, etc. that will help in furthering your skills, but practice, practice, practice is the rule here. You can see a hundred demonstrations and videos, but you will only out do your last personal best by practicing. The tutoring can supplement what you are doing in school, or can be the only thing you are doing right now. Let me know what your goals are. One of my favorite ways to paint is to blow up a flower, like Georgia O'Keeffe did. There is no telling what I will get when I interpret a flower in this way. I have done 4 so far... read more
There is a misperception in many people's minds concerning creativity. It is the belief that a child who looks at the world and can codify it into "drawings" that roughly resemble people or animals is somehow more advanced than the child who refuses to do so. In my opinion, and in the opinions of many creative people (Leo Buscaglia, for one), being able to draw a green lollipop on a brown stick and call it a tree is actually a stunting of the creative impulse, because it causes the mind to cease seeing things as they are, and breaks down the experience of the world into a series of hieroglyphic images, instead of the 3-dimensional, ever-changing world that becomes more colorful, more meaningful the more one sees. Asking a child to "learn to draw people and animals" in the usual, codified manner may seem to be a step towards art, but in reality, it is a step backwards. It encourages him NOT to see, NOT to be artistic, but to conform to politically correct... read more
It's time for summer fun! I am now taking reservations for summer fun art classes. Summer fun art classes are open to all ages, but students will be grouped age appropriately. Art classes will be in sculpting, painting (watercolors and acrylics), drawing, batik, collage, crafts (for the younger artists), and art history (this meets at a local art museum). All classes (except art history) will meet here in Orlando, either on my deck which looks out over the lake, or out by the lake. Students will be responsible for all supplies. Craft supplies, for some classes, will be provided by the teacher. Models, for posing, will be provided by the teacher, from time to time. Firing, for the sculpting class, will be arranged by the teacher at a discount rate.
Something that confuses me is whether a web designer should be an artist who codes or a programmer who designs. When I went back to college to study web design more seriously, I focused on learning the code side since I felt that art and design was a natural skill I had outside of school. I have taken art classes in junior high and high school, but I've been drawing all my life and even had painting lessons for a few years before the art classes. I dabbled in graphic design early on, but never took classes in it until well into my web design courses. I do enjoy creating digital artwork, though I still enjoy creating art and crafts. I met with a student who seemed to enjoy incorporating a traditional craft look to her blog and replicating graphics that looks like fabrics and paper textures. The vintage style of these designs is something I always enjoy too. I found it very interesting to see websites that give a very traditional look. Perhaps it's my own interests in paper... read more
Hello there D.D.I. is a comprehensive online mentoring and lecturing course focusing on a month long intro and overview of many different subjects sounding commercial production art, work flow development, and personal growth and investigation. This course will cover a broad range of subjects including character design and illustration, 3D modeling and and its fundamentals, Digital Sculpting with Zbrush, photo shop basics and advanced work flow approaches, as well as an in depth look into the important of theory and its relevant to personal, and commercial biased work. All students will be directed to an online live broadcast for lectures and demos. This enables for students to work freely at there own pace while also allowing multiple attendees to participate.
More people are using Photoshop every day, as well as its kid sister, Photoshop Elements. Not just photographers, designers, and artists, but also small business owners, event promoters, high school kids, and their moms and dads - they're creating postcards, comic books, newsletters, enhancing photos of their products, or sending cool pix to their friends, and using Photoshop to make all their pictures better. Because Photoshop and Photoshop Elements have SO many options, they can be incredibly frustrating to a novice. The tools are powerful, but not always intuitive, even for a professional photographer. Before you ever launch the program, you must figure out what you want to do with it. Then you can learn how to accomplish that task step-by-step. And on the way, you'll learn so much more. There are three basic purposes for using Photoshop: 1) You can enhance any photograph. That crooked vacation photo with the weird yellow tone can be made beautiful in about... read more
Artists recognize that different painting mediums achieve different visual effects. However, if you take a good look at a photograph, or the scenery around you, you will notice that different aspects resemble different light and color sensations. It makes sense then that to achieve the variety we see in real pictures, we could use different mediums when we paint. I have found that if you get creative and avoid a purist standpoint, it is possible to create an impression using watercolor paints, oil paint, and acrylic paint in the same painting. Decide where you want to use water color paints and apply those first. They work great for soft background light, still water, and spaces of sky. Use the water color paints anywhere you want transparent, luminating, solid color. Look at your photograph and identify areas where you want to create this effect and then apply water color paints there in your painting. In the painting shown here, I used them for the background light... read more
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Good Smile Company
Wei Wuxian & Lan Wangji: Buxianxian Ver.
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The flowers illuminate the night like white jade. Tonight must be cherished.
From the popular Chinese animated series "The Master of Diabolism" comes a 1/8 scale figure of the main characters, Wei Wuxian and Lan Wangji! With decorative scenery that sets the scene at the height of spring, Wei Wuxian and Lan Wangji have been captured in figure form enjoying the landscape stretching out before them deep in the quiet mountains. The two of them are surrounded by colorful flowers that appear to shine in the moonlight, faint blue stones and crystal clear water. Their eyebrows are carefully appear bluish-black like a mountainside in the spring, and their eyes are beautifully clear like ocean waves in the autumn. The guqin and flute play in harmony, their sounds intertwining with one another.
The scene features the two of them relaxing, avoiding mundane worldly affairs. With a gorgeously sculpted landscape comprising of mountain water, flowers and trees, the figure is carefully arranged and painted to create the atmosphere or an ink painting in three-dimensional form. A cave is sculpted behind the rocks, providing a spot for rabbits to live and play, adding to the atmosphere and creating another interesting highlight to look at.
Their hair and clothing is sculpted to appear as though flowing in the wind, and translucent parts are used to create the light and thin textures of the sleeves, capturing the pair's transcendental looks. In the shining moonlight, the inklike look of the black outfit appears to become darker, while the snowlike white outfit, created with pearl paintwork, appears like countless shining stars. The base of the figure features elegant blue and purple gradation, the water is crystal clear like ice and the rocks look like deep blue jade. The materials that make up the figure have been arranged and sculpted to make it appear as though the rippling pond is illuminated by moonlight, creating a brilliantly shining scene. As fog rises, fragrant orchid petals fall into the pond like rain. If this spring night lasts forever, I won't even envy the immortal if you stay by my side. Be sure to add Wei Wuxian & Lan Wangji: Buxianxian Ver. to your collection!
Sculptor : KAMUI
Painted plastic 1/8 scale complete product with stand included. Approximately 315mm (12.40in) in height.
Manufacturer: Good Smile Arts Shanghai
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Multiple Modernisms
A Symposium on Globalism in Postwar Art is organized by Louisiana Research as part of the program Multiple Modernities. The symposium Multiple Modernisms will take place at LOUISIANA Museum of Modern Art on 2-3 November 2017.
Recent years have heralded a paradigm shift in the way we think about modernity and aesthetic modernism as expressed in notions of multiple modernities (Eisenstadt 2000), global modernisms, and even planetary modernisms (Friedman 2015). In particular, the crucial years of the mid-20th century after the demarcation line of 1945 have been subject to reassessment and new interest in academic studies as well as in curatorial activities. The canonical understanding of the formation of new artistic paradigms during this period has been enriched by addressing parallel artistic shifts from a global perspective and how these alternatively depart or are informed by the former.
This posits a central challenge for academic art history as well as for museums of modern and contemporary art: How to understand the heritage of twentieth century art in the contemporary, globalized reality? We propose to see the postwar era as a key moment in the globalization of art with new contexts and circulations, as well as divides and controversies. This points to the significance of the postwar era and new conceptions of modernism, but also raises questions. Why is this happening now, is modernity multiple, and how can a multiple modernism be presented in the museum and how can it be researched? The aim of the conference is to pool ideas around this remarkable field and put forward possible answers and establish roads ahead: for art history as well as for the exhibition world.
Louisiana invites art historical academics as well as museum professionals and curators for a two-day exchange of research and critical debate on global modernism(s). The aim of this international conference is to rethink the arts, artists, museums and mechanisms and movements of the postwar art world 1945-1970 in light of global orientations through presentations by leading researchers, as well as by emerging scholars. The program will combine keynote lectures with shorter presentations selected through an internationally distributed open call. The conference will be supplemented by a master class and young researcher’s colloquium for Ph.D. students.
The starting point for the conference is how the world must be seen as more consistently modernized after 1945 in political, social, geographical and cultural ways – and as in much closer contact with global contemporaneity. We are thus encouraging analyses of the arts as different expressions of a fundamentally modernized world, as vision as well as condition, especially in the globalized sense of modernism embedded in (multiple) modernity; of art engaged in modern world-making, not outside it, with the complexities, controversies and questions this implies. The Louisiana Museum of Modern Art, founded in 1958, forms an especially relevant and inspiring for the discussion of the postwar era as horizon for today.
• Terry Smith, Professor, University of Pittsburgh, USA.
• Romy Golan, Professor, City University of New York, USA.
• Masha Chlenova, curator and expert on Russian Avant-garde
• Hiroko Ikegami, Associate Professor, Kobe University, Japan.
• Michael Sheridan, Architect and author of the forthcoming book on the architecture of Louisiana.
Registration will be possible through our website from 14 August until October 2017. The prices are: Symposium including admission to the museum and lunches and coffees DKK 750 and for students DKK 500. A limited number of travel bursaries will be available for people travelling from countries outside Europe. Please check the website for updates and should you require more information feel free to contact the organizers.
• Kristian Handberg, Postdoc at Louisiana Museum of Modern Art and The University of Copenhagen
• Marie Laurberg, Curator at Louisiana Museum of Modern Art
• Flavia Frigeri, Teaching Fellow, UCL - University College London (former Curator, Tate Modern)
• Karen Westphal Eriksen, Postdoc, The University of Copenhagen
Questions about the conference can be addressed to Kristian Handberg at
krh@louisiana.dk
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If You Don’t Understand Conceptual Artwork, It’s Not Your Fault
In conceptual artwork the thought or concept is crucial facet of the work. Certainly, artwork is regularly taken to assert the indissolubility of content material to form. Amongst its most well-known adherents at its early stage we discover artists equivalent to Joseph Kosuth, Robert Morris, Joseph Beuys and Mel Ramsden, to name but just a few. Martha Rosler’s work The Bowery in Two Inadequate Descriptive Systems questions our primary assumption of reality and outline in relation to both photography and text.
Conceptual artwork questions the character of artwork and emphasizes the elimination of artwork as an object or commodity for copy. In art, the sixties was the decade of the birth of a number of artwork movements, as different groups and people engaged in inventive activity searched for brand spanking new ways to specific themselves and their generation.conceptual art
The skill within the dealing with of conventional media performs little function in conceptual art. Extra just lately, James Young has defended a view whereby avant-garde artwork, like conceptual art, can not yield any significant knowledge or understanding (Younger 2001, 77).
If some significant resemblance to such a paradigmatic case is noticed, we are able to rightly call the article of our scrutiny a work of art. One of the ways in which pictures does this is by not giving weight to what the photograph depicts, however moderately how it’s used.
This fashion of approaching artwork making is much like Yoko Ono’s instruction pieces, wherein portray is separated into two capabilities: the instructions and the realizations. The truth is, conceptual art makes issues very troublesome for itself by holding that the one kind of inventive value that is completely reliable is cognitive worth.conceptual artconceptual art
Contemporary Artwork
With an influx of a brand new generation of artists working in numerous instructions and introducing contemporary sensitivity, it seems that the era of painting horses and nudes is at the finish line. Whereas character disordered mother and father are notorious for perpetrating continuous sabotage and deprecation, their egomaniacal fixation on standing and personae might result in maligning the artistic baby for his gifts while concomitantly vicariously exploiting him for narcissistic supply, so as to aggrandize the disordered father or mother’s stature and self-importance.artist
Hosts will be conventional college artwork education programs and arts residencies, in addition to arts facilities, performing arts organizations and less conventional artistic communities. Another trait that distinguished artist is their state of purpose and purpose-oriented.
Not only as a result of I wished to shed the infant weight, but also as a result of I wanted to really feel grounded once more in my artist self. Not too long ago a good friend of mine who is an avid art collector purchased a life-measurement photograph by artist Eric Schwartz. Artist fellowships, residencies, advanced coaching/internships, and constant networking with business professionals, are also integral to attaining success.
Fractured Atlas has a national network of artists they help support by way of every little thing from insurance issues to fundraising to advocacy on the issues that influence your life as an artist. Tricks to tattoo artists are often symbolizing your appreciation and thankfulness for the art design that was just put in your body.artistartist
At present used as the tutorial handout for the transportation design college students at Artwork Center, it will now be accessible to aspiring car creators everywhere, clearly organizing the packaging requirements that apply to automotive and truck design; along with insightful graphic explanations, this guide demystifies the automotive design process and allows designers entry to an illustrious careers worth of data.…
Street Artwork London Fresh London Road Art, Graffiti & Tradition
There’s no doubt that some cities the world over are an artist’s paradise. From Brick Lane, Shoreditch, Style Street, Bateman’s Row and Spitafields, it looks as if everywhere you turn in London’s East Finish there’s some sort of fascinating piece of street art that is begging to be admired; and fortunately our crew of tour guides are at hand to lead you to a few of the most famous items of graffiti in London so you won’t must miss a thing.street art
Wheatpaste and stencil graffiti artwork in Denmark elevated quickly after visits from Faile , Banksy, Ben Eine , and Shepard Fairey between 2002-2004, especially in city areas of Copenhagen similar to Nørrebro and Vesterbro seventy two Copenhagen is home of TEJN , the artist credited with introducing the Lock On avenue art genre.
Although not a part of the primary tour of avenue artwork on the 86 tram line, you possibly can if you want proceed up Fitzroy Street and see a large number of avenue art places on the road itself, on streets that cross Fitzroy Street and lead to Brunswick Street or to the west, and in addition on Rose Street.
While Road Art also entails a risk, actually all a wheatpaster has to do is take all damn day making their poster at residence and then arrive on the web site and paste it up. Actual spray-can Graffiti is rather more harmful, and in the Graffiti world this rush, and the ability to get away with loopy shit is a big a part of the excitement and supply of recognition.street art
The 9 day lengthy pageant explores the place of road art, large new global art movement that it’s, in the continuum of artwork historical past and can see over 20 of the present masters of the road reinterpret and remix the works of the masters of old.street art
Genre Work In Visible Artwork
Drawing is a method of making an image , utilizing any of a wide variety of instruments and methods. A DEC in Visible Arts can also be a solid basis for further studies within the humanities or social sciences. Guests who may be unfamiliar with American artwork are supplied methods to have interaction with objects within the exhibition via historic, social, and political interpretations that reference different exhibition themes all through the Museum.
Cutting-edge services, together with industry commonplace computing gear and software program. Educating by means of the humanities is probably the most highly effective tool that academics may give in their classrooms as a result of it enables the scholars to achieve their highest degree of learning.
Graduating with a serious in Visual Arts offers extensive-ranging skilled alternatives: for instance, practising as an exhibiting artist, industrial illustration, instructing, or working in gallery and museum collections. As children progress in their knowledge and competencies, they will start to learn more about the strategies and terminology of the totally different arts, and turn into aware of an ever wider vary of nice artists and acknowledged masterworks.
The top industries for craft artists who were not self-employed had been clay product and refractory manufacturing, museums, glass product manufacturing, and other miscellaneous retailer retailers. The Dreaming Award was established in 2012 to recognise an inspirational younger artist aged 18-26 years and support the opportunity for them to create a major body of labor by mentoring and partnerships, either nationally or internationally.visual art
It measures Australians’ engagement with the arts in 2016 – attending arts occasions, exhibitions and festivals; reading; listening to music; sharing and connecting with the humanities online; and creating artwork themselves. This utility won’t solely improve the customer expertise, but may also enable those who are unable to go to the museum to just about discover the exhibition.visual artvisual art
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Serving the Metro Detroit, Michigan area
Newborn, Cake Smash, Maternity Photography
Back in December, I was able to meet up with Eliza and her mom again. I cannot believe how quickly those 6 months had passed. Now it was time for me to transition from being her newborn photographer, to being her Metro Detroit 6 month photographer. This type of session is often times referred to as “milestone session” within the photography realm. It’s a common stage in life to revisit with a photographer and have a new session. After all, so much has changed in those short 6 months!
Your baby is now probably well on their way to sitting unassisted, and also gives some pretty great gummy smiles. Their little personalities are really starting to show, and having a 6 month session really showcases that, and lets it shine organically.
Eliza’s mom wanted to continue on the “jewel tone” theme that they had during her newborn session. Since she turned 6 months during the holiday season, I decided to play up the maroon color, along with some understated greenery as well. Her bedroom is done in white shiplap, so tying those together for this session was also a little nod to her personal bedroom decor.
Eliza showed up and was generally a happy little girl, but wasn’t chock full of smiles that day. That’s totally fine with me, and her mommy too. Her big bright eyes and giant cheeks really steal the show anyways.
Typical baby milestone sessions include up to 4 sessions. The first is at 3 months (when baby can smile), then 6 months (when they can sit & smile), 9 months (when they are crawling) and then 1 year (for their birthday session and/or cake smash!)
These “sitter sessions” are quickly becoming my favorite type, because I cannot resist seeing these babes again and getting rewarded with a gigantic gummy smile. It melts my heart!
I hope you enjoy this preview into when I was Eliza’s Metro Detroit 6 month photographer. I look forward to seeing her again for her cake smash session in June!
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Dad hilariously re-creates his kid's drawings with Photoshop
Originally published at: Dad hilariously re-creates his kid's drawings with Photoshop | Boing Boing
Al Jaffee did this in MAD Magazine in the 60’s
Came here to mention this. I still have that issue someplace.
Should scan them. -scratch that, found someone who Already Did That.
They actually made TOYS based on kid’s drawings and they were pretty good.
I immediately thought of that article as well.
1 Like
This seems like something an AI would be good at. Sorta sad that is where we are now.
The page linked in the comments is pretty good too:
My kids were just introduced to Mad Magazine through one of their “Christmas Special” reissues, it included that bit with the kids’ toys.
I can’t thank you enough for that link. I still have the paper copy, but this is so good for sharing online.
IKEA does a competition for kids to send in their drawings, the winning drawings get turned into stuffed animals. Here’s one of this year’s winners:
Nope, I’m out
This is what things actually look like. As we grow from child to older child to adult we develop filters and are indoctrinated to perceive things the way we are supposed to.
1 Like
There’s a company that will do the same.
Not cheap!
This topic was automatically closed after 5 days. New replies are no longer allowed.
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Teacher Rant
Apologies if it seems I am beating a dead horse but I have one more thing to add to my series on the unsung heroes of the photo world: teachers.
I have written before about the teaching profession here.
Photo teachers are massively underutilized as portfolio reviewers. There, I've said it.
Let's play this hypothetical out. I am rich (or not), I've gone to art school and I like galleries so I buy one. I like photography, although I didn't study it, and so I decide my gallery will be a photography gallery. Right away I am making decisions about who to show, what kind of works I want on my gallery's walls and what artists I want to represent. I also am now being sought after to do portfolio reviews, both locally but also nationally. My qualifications are suspect at best as I am new to the whole process. Yet people are sitting across the table from me at reviews, showing me their work and wanting my say whether the work is good, merits attention and recognition, and whether I will give them a show in my gallery. I look like and seem knowledgeable and to be an authority but I am not.
Second hypothetical. I am a career photo teacher. I have been through undergraduate and graduate study in photography. I am well versed in the medium's history, its contribution to the modern fabric of our society, am up on current technology and lecture frequently about photography's impact, its pervasive nature, assumptions and misconceptions people have about it and whether student work is effective, beautiful, powerful or not. In fact I am a trained and career-based photography portfolio reviewer. I review student work daily and weekly, sometimes of intro students and often of senior or second year graduate thesis students. Lastly, I am very connected in my community for I often use local museums and galleries for my classes, invite curators, prominent artists and critics to speak to my students. I do not own a gallery nor am I sought after to conduct reviews even though, arguably, I am among the very most qualified to do so.
Why? Because I don't have the position or the power to award an exhibition or to agree to publish a photographer's work.
I think this should change and I believe it may soon. Portfolio reviews are a fairly new system, devised to connect people with decision making authority and photographers looking to increase the exposure of their work. And it works, to some extent. This is how curators, gallery directors and publishers are now choosing work for exhibition or publication, for the most part. But talk to the really good reviewers and they say that most often they are ladling out advice and their opinions about the work in an effort to make constructive criticism of the work, not to award a show. Furthermore, they counsel the reviewee that this is exactly what they are doing. Now, go back to the hypothetical clueless gallery owner. Do you really want him/her advising you about your work? Or would you rather have a career professional looking at your work, someone who is hugely qualified and experienced?
I believe that we are beginning to see a maturing of the portfolio review business, at least I hope so. After all, when someone gets their work reviewed it is a business transaction, with a client (the reviewee photographer) and the reviewer (the service provider).There is money exchanged. What is needed is a balance with those that can offer things like exhibitions with those that can advise the client best on the efficacy, relevance and worth of their photography, and make helpful suggestions about how to improve.
Come on Photo Lucida in Portland, Photo Fest in Houston, Paris Photo, Review Santa Fe, etc. I understand everyone who's coming to be reviewed wants a show, but for the vast majority the benefit is having someone really qualified, really good, reviewing their work. It's the photo teacher every time. It is a no brainer. Put more teachers in place in portfolio reviews and do it as soon as you can.
I am now finished with my Teacher Rant. Whew! Thanks for reading.
Topics: Commentary,teaching
Permalink | Posted August 15, 2014
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art and design
Grayson Perry to build holiday home 'shrine' to Essex everywoman
Turner prize-winning artist wins planning approval for holiday home which pays homage to mythical woman called Julie
An image of how the Essex holiday home will look
An image of how the Essex holiday home will look.
Grayson Perry, the Turner prize-winning artist, has secured planning permission to build a holiday home encrusted with sculptures, ceramics and tapestries that tell the story of a mythical Essex woman called Julie.
The two-bedroom house near Harwich will be available for the general public to rent from 2014 through a scheme set up by the philosopher Alain de Botton to introduce holidaymakers to the joys of avant-garde housing.
Chelmsford-born Perry has worked with architectural firm Fashion Architecture Taste (FAT) on a building that is intended as a homage to his home county. It will overlook the river Stour at Wrabness, six miles west of Harwich port, and is Perry's first foray into architecture.
Resembling a cross between a wayside chapel and a fairytale gingerbread house, the home will be topped with a statue of Julie, relief tiles with her image will clad the walls, a weather vane will celebrate her mothering skills and a sculpture of her cat will sit above the door. Inside, renters will be able to pore over tapestries that tell the story of Julie's life, while a chandelier "could relate to her tragic death. When it is finished, it will be very, very elaborate," Perry said on Tuesday. "It will be an opportunity to live in a shrine.
"The idea behind the project relates to buildings put up as memorials to loved ones, to follies, to eccentric home-built structures, to shrines, lighthouses and fairytales."
Perry said he wanted to overturn the idea of Essex women as seen in the TV show The Only Way Is Essex and he has designed artworks to trace Julie's Essex everywoman journey as she "encountered life's ordinary triumphs and tragedies; a difficult childhood, young love, a truncated education, children, divorce and finally fulfilment in her career and love life".
Perry said he imagined her as born in 1953 and dying this year, and as "one of the women who wear purple".
"She's in touch with her inner goddess," he said. "She's probably read Fifty Shades of Grey, but didn't like it."
The project, in a listed area of outstanding natural beauty, won permission in the face of several protests. One objector complained to Tendring district council that the design was "pseudo-subversive neo-kitsch", another said it was "more suited to a theme park", while another said it was like something out of a Disney film.
Perry said he had toned down the designs from his original "doodling wildly and quite drunkenly in front of the TV".
The rooftop sculptures had to be reduced in size by a quarter after conservationists complained they had "a significantly detrimental impact upon the character and appearance of the area of outstanding natural beauty".
De Botton said the collaboration between Perry and FAT had produced "a building that is intensely alive to history and location, but which takes art and architecture in entirely new and thought-provoking directions".
De Botton's development company, Living Architecture, has already built holiday homes in the UK by Sir Michael and Lady Patty Hopkins, the Dutch firm MVRDV, the young Scottish practice NORD and one of Norway's leading architectural practices, Jarmund/Vigsnæs Architects.
This article was amended on Wednesday 3 October to remove a sentence saying that renting the house could cost up to £2,000, the result of an error in the editing process.
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Baryshnikov's Advice to Grads: Be Generous Enough to Let Yourself Fail
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.
The heart of his message: Be generous.
After promising not to talk politics, he said he would go "180 degrees in the opposite direction" by talking about generosity.
Appropriately, he started with the ceremony's most obvious example: the woman who made USC's dance program possible—Glorya Kaufman, arts patron extraordinaire.
But he went on to explain that generosity is about a lot more than donating money. It's also about:
• Sharing. He thanked his mother for opening his eyes to dance.
• Teaching. He thanked his teachers who shaped him.
• Artistic collaboration. "To collaborate is to be generous with your time, your body, your soul. It's always a two-way street—you give, you get."
• Allowing yourself to take risks. "As young creative artists, and really as human beings, you have to be open to failure," he said. "Failure is a part of learning.... As a very old dancer, I have had many, many opportunities to fail. It happens. Projects collapse, knees blow out, money dries up. But you as artists, and as young people discovering what you care about, you must be generous to that spark inside yourself that made you love dance in the first place."
A row of students in cap and gowns listen to a graduation speech
USC students listening to Baryshnikov's speech
But he's realistic. He knows that dancers can have a hard time being generous with themselves.
" 'My jump is not high enough, my turns aren't perfect, I can't get my leg behind my ear.' Please don't do that. Sometimes there's an obsession with technique that can kill your best impulses. But communicating with an art form means being vulnerable. Being imperfect. And most of the time this is much more interesting. Trust me."
And with a sly smile, he ended the speech by breaking his promise: He talked about politics.
He said he'd recently been wondering why artists tend to lean left politically. "Maybe, just maybe, it is because the arts get to the heart of what's important to us, meaning our humanity. The arts are the best form of truth that we have. We must be vigilant to protect and maintain a society that respects this idea. This means we must participate as citizens whenever possible. You, me, all of us. We must give our time, our thought, our caring to ensure that our country has the awareness and the courage, the generosity of spirit that is necessary for art to flourish."
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At Dance Spirit, we're celebrating the month by highlighting four Latinx dancers whose groundbreaking work is opening doors for the next generation.
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4 Colleges Committed to Diversifying Their Dance Curriculums
In the face of today's racial crisis, many Americans are now reckoning with their own complicity in the oppression of marginalized groups, and asking, "What can I do?" For college dance programs, which help mold the minds of the next generation of dance artists, this is an especially important question. For decades, most departments have centered on white, Western styles—ballet, modern, contemporary—rather than dedicating resources to the world's myriad other dance forms.
Fortunately, some college dance programs have pledged to diversify their course offerings, and to dismantle the layers of white supremacy that still pervade our art on a larger scale. And while many colleges are now beginning this work, a few have made
it a central part of their mission for years. Here are four schools with longstanding commitments to a more equitable dance education
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Posts tagged with "Ringling Museum of Art":
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Machado Silvetti's modern addition to historically significant Ringling Estate
The new pavilion features 2750 individual terra cotta modules, weighing in at 60-70 pounds each.
The John and Mable Ringling Museum of Art, part of a historic 66-acre estate in Sarasota, Florida has received a striking new pavilion designed by Machado Silvetti to house new gallery and multi-purpose lecture space. Officially called the Center for Asian Art in the Dr. Helga Wall-Apelt Gallery of Asian Art, the project features a custom glazed sculptural terra cotta clad volume elevated off the ground, and attached to the museum’s West Wing galleries via glass bridge. The new 7500 sq. ft. pavilion establishes a new monumental entrance to the museum, and assists in the reorganization of site circulation and infrastructure systems. Teaming with Boston Valley Terra Cotta, the architects developed a cladding strategy to respond to specific environmental, programmatic, and budgetary criteria. The project is inspired by lush foliage and historic architectural ornamentation found within the Ringling estate. Craig Mutter, Principal at Machado Silvetti, says the gallery-based program of the new addition led the project team to considering a conventionally constructed box with very few windows, to reduce glare: “We put our design energies into creating a high performance building envelope.” Machado Silvetti teamed with Boston Valley Terra Cotta, an upstate New York-based architectural terra cotta manufacturer. “We were involved very early in the process," says Bill Pottle, Boston Valley International Sales Manager. "We went from hand sketches to a 3D digital format where we were able to go back and forth with the architect and talk about different sizes. This helped us rationalize and execute the project to fit into both manufacturing and budget parameters." The tiling of the facade was achieved with three primary shapes optimized to the rack size of the kilns utilized in the production of the modules – a 24” square, a 24” portal framing a window opening, and an 18” square. All together, with custom pieces at corners and end conditions, no more than 10 unique shapes were required. The repetitions allowed for efficiencies in the production process, which paired digital modeling and fabrication with hand craft. The modules were made one at a time, weighing between 60-70 pounds apiece. In total, 2750 three-dimensionally shaped ceramic modules were installed on the building. This manufacturing method became a significant constraint on the architectural design, said James Smokowski, Project Manager at Boston Valley. "The size limitation of the RAM drove a number of design changes from the architect.” Initially calling for a 60" x 60" tiled piece, the architects revamped their design to fit within the dimensional constraint of the kiln equipment. Rhino3D models were prototyped into shells using a 5-axis mill, which became the formwork for a hydraulically operated RAM press.
• Facade Manufacturer Boston Valley Terra Cotta
• Architects Machado Silvetti
• Facade Installer Key Glass (windows), Sun Tile (terra cotta)
• Facade Consultants Boston Valley Terra Cotta, Stirling and Wilbur Engineering Group (structural engineering)
• Location Sarasota, FL
• Date of Completion 2016
• System custom terra cotta rainscreen on concrete frame with concrete block infill
• Products custom terra cotta modules attached to modified Terraclad track from Boston Valley, YKK glass units
A sense of depth was established both by the chiseled three-dimensional form of the ceramic modules and a custom green glaze developed by Boston Valley. Due to the geometry of the modules, the glaze pools in the concavities creating a coating with variable depth. The terra cotta modules were installed on a modified version of Boston Valley’s standard Terraclad stainless steel track and clip system over a standard wall construction of concrete framework infilled with concrete block units. This detailing allowed for cost savings and assisted in the pre-qualification of terra cotta installers. Adjustments to the stock rainscreen system were made to create a consistent 3/8” gap around the full perimeter of each modules, ensuring individual pieces are able to be removed and replaced in the event of any damage. Windows were used sparingly on the facade, composed into clusters where interior program can accommodate some glare. These “clouds” of windows occur in the third floor meeting room along the north facade, and are distributed throughout the facade with careful attention to reducing glare within the gallery space. Despite having significant views to the picturesque Sarasota Bay, windows are used sparingly as accents – tiny portals which nearly disappear into the tiling of the facade. Rodolfo Machado, Principal at Machado Silvetti, says this compositional decision was deliberate: "Perhaps the most effective windows are in the third floor conference room. Here, small windows carefully framing the landscape are quite effective – almost like looking at a painting. In this case, fewer smaller windows work better." Through this modern addition to the Ringling Museum campus, the architects were able to solve programmatic day to day operational issues at The Ringling, which was a big win says Craig Mutter, Principal at Machado Silvetti: “We are particularly proud of this project because our mission was to create a striking addition to this area of the museum that would be a beacon to the visitors on the campus. But we were also able to solve day to day problems the museum was facing, from way finding to operations, to conservation lab connections. We feel this project will have a very big long term impact for the Museum."
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Special Effects Art Shoppe
Conservation Framing
two pictures
When someone hears the phrase “conservation framing” it’s likely that he/she may have a slightly bewildered look or blank stare. What makes conservation framing different from regular framing? Conservation. Isn’t that what museums do to keep historic documents from crumbling? Is conservation a fancy word frame shops use to jack up prices? Let’s walk through the differences, and the pros and cons of both.
Non-Conservation Framing
Whether we’re fixing the glass on an older picture or re-framing it, there are several recurring traits that are very harmful to the artwork. These pictures usually suffer from acid migration, deterioration, yellowing and mechanical damage (such as tearing, slitting, cracking, etc.). Here are a few methods and materials used in non-conservation framing and their negative effects:
• In the past, corrugated cardboard or chipboard was widely used for its stability and strength, however, acid within the board leaks into artwork causing discoloration.
• Mats were previously made of wood and left acid burn on the front of the artwork.
• Regular framing glass provides little protection against UV rays, leaving documents and art susceptible to losing their color intensity.
• Rabbets (the groove inside of a frame that holds its contents) are sometimes left unsealed. This often leads to damage on the side of the artwork from wood mouldings that can make paper brittle with time.
• If dust covers aren’t used, paper-eating insects, dust, and foreign objects can easily slip inside the frame wreaking more havoc on your picture.
• Originals, photos, or delicate art that is framed straight against glass will often have mold and adhere to the glass, possibly tearing the face of the print or photograph.
• Abrasive, acidic adhesives that are used to mount or hinge artwork can result in tearing and ripping later on.
Framing without conservation in mind may result in a decent presentation at first, but it’s potentially catastrophic for the work. Choosing what appears to be a lower-priced option can compromise the longevity of your piece. In ten, fifteen—even five—years your beloved print could be yellowed, making it look extremely aged. Once a print or document has endured acid migration or a similar condition, no amount of re-matting or framing will hide it. You’ll be forced to restore the piece, which is certainly a larger bill than conserving at the onset!
There are times when non-conservation framing is ideal for the situation. For example, say you find a cool Beatles poster to hang up in your rec room. Posters don’t hang on their own, and you don’t want to tape it to the walls, so a nice black frame would be a great way to display it. But let’s be clear—this poster is hardly important. In fact, if you moved two years from now you’d gladly toss it in transit, but for now it’s a fun addition to the décor. This is when non-conservation framing really works. Grabbing a ready-made poster frame that is unsealed, has regular glass, and no spacers, is the perfect choice for this project. It allows you to display the picture for a good price, with no need to conserve since it’s not monetarily or personally valuable.
Now let’s switch things up. Say your brother gave you a poster signed by a famous movie director. This poster means a lot to you personally (and the autography is probably worth some $$), so you don’t want anything to happen to it. Conservation methods should be used in this case to ensure the poster won’t be damaged or faded. You’ll want to ask for the whole nine yards: acid-free materials, spacers, conservation glass, sealed rabbet, and a dust cover.
This is just one example of when non-conservation framing is an okay choice. For most items conservation is the way to go, but there are things to consider. If you’re headed to a custom framer, chances are you care about the item, but sometimes, as in our previous poster scenario, framing could simply be a necessity for display. It comes down to Value and Sentimentality.
Value alone doesn’t dictate worthiness of conservation. It might seem like common sense to conserve a Picasso you found in your attic that’s worth $1 million. Did you know that a $10 signed print from a little-known artist should be conserved too? Even though it may cost the same as a mass-produced Wal-Mart print, it’s a signed piece of work from an artist that could be very meaningful and will increase in value over time. Although you may not have spent considerable money on the artwork, always remember that signed, original or limited edition art appreciates. On the flip side, items that are very sentimental to us, should always be conserved, even if there is no monetary value. A friend’s drawing may have special meaning. That same Beatles poster we didn’t conserve a few minutes ago, might be worth the world to someone whose spouse went to every music store in the country looking for that particular poster. If the item tugs at your heartstrings (meaning the thought of damaging it makes you cringe) you should have it conserved.
And always remember, a tight budget does not mean you can’t conserve your work. There are ways to use conservation materials without breaking the bank (such as omitting mats, using metal or simple wood mouldings, etc).
Now that we’ve discussed framing without conservative efforts, what happens when you are framing for the long-term and concerned about the longevity of your artwork? That’s where conservation framing comes in.
Conservation Framing
The term conservation framing refers to techniques and materials framers use to protect art on paper from water damage, foxing, acid migration and more. Many specialty frame shops like ours use conservation materials. What does this mean?
• acid-free mat board that doesn’t yellow and won’t stain your art
• acid-free backing board that prevents acid migration and yellowing on the back of your art
• assorted tapes that seal the rabbet, keeping wood away from your art and bugs from inside the frame
• spacers that keep your artwork from molding, buckling, and adhering or transferring to glass
• acid-free hinges that secure artwork without causing damage
While conservation framing may increase the cost of your project, it’s a worthwhile investment. You should always check to see if your framer uses acid-free materials. Consider options such as conservation clear, museum, and anti-reflective glass in place of regular glass. These can give you more protection against UV rays so your artwork won’t fade, especially if it’s hanging in a bright location. Contemporary matboards made from cotton won’t yellow your artwork. Spacers are self-adhesive strips that attach to glass and create space between the glazing and artwork, so your document won’t mold, buckle, adhere to the glass, or suffer from image transfer (i.e., George and Paul’s faces staying on the glass when you lift the poster from its frame). Spacers can be used when you are framing shallow dimensional work or when you’ve chosen not to use a mat (otherwise the mat provides sufficient space). Sealing the rabbets is crucial to keeping wood-boring bugs and beetles away from your art. Sometimes wood mouldings can have insects inside that chew on the wood. If your rabbets are unsealed, Mr. Bruce Bugsworth (AKA Paper Enemy No. 1) can eat through the frame and straight across your beloved Beatles.
Ask if your framer can use an acid-free spray to seal old documents or crafts. This is a great way to protect photos, collages and more that may not be made of acid-free materials. Here are some examples of good candidates for conservation framing:
• original artwork
• fine art prints
• sentimental photos
• autographed material
• rare or historic documents
• fragile paper art
• children’s art projects
• degrees and awards
charlestonEverything that is framed should be handled with care, which is why we use acid-free materials on all projects unless the customer explicitly asks otherwise, and we always explain full conservative options that are available. The result is beautifully framed pieces that will never deteriorate. You want to protect and present your piece. Conservation framing will ensure that years from now the print you just purchased while on vacation at an art show is protected from damage and aging. Please keep in mind that this is just an overview—the field of conservation framing is vast and detailed.
Contact Us: 905 945 9787
Company Address
63 Main St W
Grimsby / Ontario / L3M4H1
E-mail
art@seart.ca
Phone Numbers
905 945 9787
Copyright 2017, Vision Design - graphic zoo
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Illustration Popel - Skizze
thotra - Popel - Skizze
Weiteres auf Popels Blog www.popelig.blogspot.com1 Ratings: 0-0-0-0-1-0 4 - 1928 Views)
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thotra - 09.03.11 11:02
Hier kann man gucken, wer die Torte bekommt und wer ein Buch gewonnen hat
http://popelig.blogspot.com/
Markus - 01.03.11 22:44
Die (Sendung mit der) Maus
DS_Nadine - 01.03.11 15:44
Dei Mudda!
Sehr süss!
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- FEBRUARY 2018 -
HOME - Bridge Italy - Culture - “American Dreamers” The new dream of eleven American artists on show in Florence
“American Dreamers”
The new dream of eleven American artists on show in Florence
Nightmares, restlessness and nostalgic fantasies: more like an escape from reality than a project for well-being and freedom in the art of the under-40’s in the difficult post-9/11 decade by Pietro Marino
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Thomas Doyle. Acceptable. 2008. Detail
American Dreamers” is the title of a collective that presents, in Florence, (until 15 July 2012) 11 artists of the recent generation (between 30 and 40 years old) in the Strozzina. That’s the name of the space for contemporary art which has opened in the basement of the prestigious Palazzo Strozzi, where the exhibition, “Americani a Firenze”, is in progress, about the artists who from the other side of the ocean landed in Tuscany between the second half of the 19th century and the first few years of the twentieth, following the Italian dream of the beauty of art and nature. But the American Dream of today’s artists is not that which has inspired and motivated the growth of the United States since its foundation, the collective project of a society aiming at progress, well-being and freedom, strong in its claim to “the right to happiness”. It is the dream itself which has become the escape from reality, an oneiric projection of desire and individual fears, or a metaphor for the turning to the habits of lives that have lost their way, like lives in touch with nature, domestic or “women’s” work, the innocent pleasures of the senses… In general, a “tendency to withdraw into the private sphere or the reinvention of the relationship between the individual and the community”, observes Franziska Neri, curator of the exhibition and head of the “La Strozzina” Center.
So, wandering and contrasting fantasies go to make up the variegated route of the Florence review. Thomas Doyle puts cute little models of typical American houses inside transparent spheres like soap bubbles. But the houses are perched on the edge of a precipice or are suspended over deep ravines. Similar little houses are painted in limpid landscapes of a reassuring rural serenity by Adam Cvijanovic; but they are panels of light fabric, which can be dismantled and transported like props in cheap theatres. Patrick Jacobs lets you spy charming landscapes in tri-dimensional miniature, with flowers and mushrooms through small portholes: they seem to be at arm’s reach but they are inaccessible. Christy Rupp presents skeletons of large, extinct, prehistoric birds, but they are made from the bones and cartilage of chickens and turkeys gathered from the cast-offs of fast-food restaurants and barbecues.
These nightmares and restlessness is counterpoised by the nostalgic fantasy of Will Cotton who depicts pop heroines as nude models stretched out on pink cotton-wool clouds like in the frivolous rococo paintings by Fragonard, and landscapes made of candy floss, sugared almonds and candies. The lovely women photographed in c-print by Adrien Boom float in the night air and in water like seductively veiled ghosts. Kirsten Hasserfeld builds starry lamps and shiny diamonds and decorations that remind you of Christmas or the Thousand and One Nights with transparent, multi-colored parchment paper. Enchanted forests with the exuberance of tropical vegetation and fabulous “heavenly kingdoms” with just moons and stars are evoked by Mandy Greer, by weaving colored waste fibres, crocheting wool, buttons and beads.
The most visionary of all is Nick Cave, protagonist from Chicago of Fashion Design. A spectacular series of his Soundsuits is on show in Florence: mannequins of people with musical instruments, completely covered in “costumes” made with the most disparate of materials; synthetic furs, patchwork quilts, hats, bottle tops and so on. They thus become grotesque colored ghosts, reminding us of South American Carnivals or those of New Orleans. At the opposite extreme the paintings in distinct colors and stylised post-pop graphic contours with cold cut-out profiles by Richard Deon. He has invented a solitary personality called “The Subject”, usually a loser, evoked in surreal situations of abandonment or in an urban desert.
It is not easy to decide what the collective weight of these diverse experiences in the contrasting panorama of contemporary American Art. They are certainly a symptom of restlessness. An “escape route from the chaos and indifference that they see in the world around them” says Bartholomew F. Bland. And this in a precise moment in the States, “the age of uncertainty” that seems to have started with the two falls, that of the Berlin wall and that of the Twin Towers. But is there a remedy, an answer? In the catalogue there is an article first published in The Nation, on 10th October 2011, referring to the birth in Washington of an “American Dream Movement” shouting, “Take Back the American Dream”. And followed, straight after, by the “Occupy Wall Street” movement in Zuccotti Park in New York. But how much chance does this challenge, on the part of citizens who want to “take back the American Dream”, have of succeeding in these rocky times of Barack Obama in the White House? Robert Borosage and Katrina Vanden Heuvel pose the question in Italian and in English at the end of the catalogue. But everyone knows that it is not the task of art to provide the answers, but to ask the questions. And to dream, sometimesAndy Warhol The immortal guru of Pop Art Culture “Angels and saints in Chicago and Baltimora” Cultural exchanges between the University of Bari and the US Culture Those farm women, thrilled at their first sight of the sea… Culture My Puglia as seen from the UN Culture Forty young Italians with ONE for the fight against world hungerThe Egyptian Museum of Turin The immortal appeal of the Pharaohs Turin “For President” Photogenic qualities will win the elections Padua So much… In the city of the three “withouts” Milan EXPO 2015 Not just food Milan The oneiric inspirations of Joan Jonas Milan “Autunno americano” Milan celebrates the States Milan MILAN The metropolis is still “to drink” (…and “to eat”) Rome “Empire State” New York is still the epicenter of art Venice The immortal charm of the
“Queen of the Sea” Venice So many “Illumi/nations” with the Biennale d’Arte Rovigo History and Art In the capital of the Polesine Rovigo “Divisionism, the light of what is modern” 200 works on show in Rovigo
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